Charles-marie Widor (1844-1937)

Series

Episode

Title

First
Broadcast

Comments

2015

The Organ Prodigy

20150511

Donald Macleod explores the life and music of Charles-Marie Widor. In his lifetime, Widor was feted throughout Europe as a performer, teacher, and composer of ballets, opera, concertos and organ symphonies, Today he is largely remembered for just one work. This week, Dr John Near joins Donald Macleod to journey through the world of Widor, looking beyond his famous organ Toccata to explore the composer's chamber and orchestral music.

The young Widor emerged as an organ prodigy in the 1860s, with the support and encouragement of the famed organ builder Aristide Cavaill退-Coll. He was soon offered a post at the church of St. Sulpice in Paris, and became a pivotal figure in Parisian cultural and social circles. His performances at the organ, and his works for the stage and concert halls attracted many, including royalty. Widor also joined the teaching staff at the Paris Conservatoire, and taught many luminaries of the next generation, including Vierne, Kodကly, Varese and Messiaen. Widor lived into his nineties and remained active into his final years, founding the Casa V退lazquez in Madrid for French artists to study Spanish culture.

Playing and building organs ran in the Widor family. Young Charles-Marie was first hoisted onto the organ bench at the age of four where his father would teach him the mysteries of the instrument. By the time he was eleven years old, Widor was awarded a scholarship to study at the Lycee in Lyon. He was able to earn his keep by playing the organ at mass and vespers at the city's Jesuit College. Widor would go on to compose much liturgical music during his long career, including his Mass Opus 36 for two choirs and two organs.

Supported by the organ builder Aristide Cavaill退-Coll, Widor was sent to study organ with Jacques Lemmens and composition with Fran瀀ois-Joseph F退tis. After this burst of intense learning, Cavaill退-Coll utilised his prot退g退's now exceptional skills by sending Widor off around Europe to champion instruments manufactured by his mentor's firm. Later, Cavaill退-Coll helped Widor secure his first significant position as organist at the church of St. Sulpice in Paris, where he was to remain for sixty-four years.

Donald Macleod focuses on how as an emerging prodigy, Widor dazzled audiences at the organ

2015

Widor Causes A Stir

20150512

He was famed throughout Europe as a performer, teacher, and composer of ballets, opera, concertos and organ symphonies, although today he is largely remembered for one work, his Toccata for organ, this week Donald Macleod explores the life and music of Charles-Marie Widor.

Widor was dazzling Paris with his organ performances at the church of St. Sulpice. The social elite of the city would be allowed to sit in the organ loft with Widor and watch him perform, including the banker Frederic d'Erlanger, to whom the composer dedicated his Trio Opus 19. The Cavaill退-Coll instrument at St. Sulpice offered a rich palette to composers, and soon Widor started writing sets of symphonies for his instrument, although some commentators couldn't understand how you could composer a symphony for solo organ.

Mixing in the cultural circles of Paris was very important to Widor. He composed many songs during his career, and dedicated them to various aristocrats and artists. Widor was also socialising with the musical elite, including Liszt, and he attended one of the first performances of Wagner's Ring Cycle at Bayreuth. He was keen to push musical boundaries himself, and his symphonic poem La Nuit de Walpurgis, the witches' Sabbath, caused quite a stir. Some critics thought that Widor was going too far!

Donald Macleod on the controversy Widor's symphonic poem La Nuit de Walpurgis caused.

2015

Appointed To The Paris Conservatoire

20150513

Widor's music was becoming known internationally. His next big hit came with his ballet La Korrigane, The Goblin Maiden. The premiere at the Paris Opera was a huge success, and was attended by Edward, Prince of Wales who took curtain calls with the composer. On the recommendation of His Royal Highness, Widor received a commission to compose music for the Royal Philharmonic Society, marking the tenth anniversary of the Father Willis organ at the Royal Albert Hall. For this occasion Widor composed his Symphony Opus 42a for organ and orchestra.

In 1890 Widor returned to England for another Royal Philharmonic Society event, the performance of his Fantaisie in A flat major Opus 62. This work went down very well and remained popular throughout the composer's lifetime. In the same year, following the death of Cesar Franck, Widor was appointed organ professor at the Paris Conservatoire. He was met with hostility from some of his new students, but he soon won them over with his knowledge and abilities.

Focusing on Widor's work as a teacher and curtain calls taken with the Prince of Wales.

2015

Promoted At The Paris Conservatoire

20150514

Widor had a number of huge hits under his belt, including not only organ music, but works for the stage and concert platform as well. A work of his which has stood the test of time along with his Toccata for organ, is Widor's Suite Opus 34 for flute and piano, composed in the mid 1880s. Although much of Widor's time was taken with teaching organ at the Paris Conservatoire, and his post at the church of St. Sulpice, he still received commissions from abroad, including a new work to be performed in Geneva, his Symphony No 3 Op 69 for organ and orchestra.

There was a turning point for Widor in 1895. His music started to take on a much more serious nature, and he became increasingly interested in Gregorian chant. It was during this period, just before the start of the twentieth century, that Widor's career took another significant turn, when he was appointed Professor of Composition at the Paris Conservatoire.

How a new position confirmed Widor's status as one of France's pre-eminent musical figures

2015

05 LAST

A Musical Statesman

20150515

He was famed throughout Europe as a performer, teacher, and composer of ballets, opera, concertos and organ symphonies, although today he is largely remembered for one work, his Toccata, this week Donald Macleod explores the life and music of Charles-Marie Widor.

In the last thirty years of Widor's long life, he saw his own musical style become more out-of-date. He was far from giving up though, and with his appointment to the French Academy of Fine Arts, Widor had plenty to do. He now held the highest official post for a musician in France, and utilised his position to help artists in need. During the Great War he refused to leave Paris, feeling that he was honour bound to remain at the Institut and do what he could.

His composing activities were now much reduced. During the war he composed a solitary song Dormez, M耀lit退, and in 1934 came his last work for the organ, Trois Nouvelles Pi耀ces Opus 87. Yet Widor continued to work tirelessly, establishing a new French cultural institute in Madrid, and also London, and completing over 60 years as organist at St. Sulpice in Paris. One of Widor's final masterpieces, on a Mahlerian scale, was his Symphonie antique Op 83 for soloists, choir, organ and orchestra.

Les Pꀀcheurs de Saint-Jean (Marche de No뀀l)

Royal Scottish National Orchestra

Martin Yates, conductor

Cello Sonata in A major Op 80 (Allegro moderato)

Mats Lidstr怀m, cello

Bengt Forsberg, piano

Michael Bundy, baritone

Jeremy Filsell, piano

Classique d'aujord'hui (Trois Nouvelles Pi耀ces Op 87)

Ben van Oosten, organ

Symphonie antique Op 83 for soloists, choir, organ and orchestra (Moderato)

Domkantorei Altenberg

Gürzenich-Chor K怀ln

Deutsch-Franz怀sischer Chor, K怀ln

Andreas Meisner, organ

Paul Wi߀kirchen, organ

Radio Sinfonie Orchestra Pilsen

Volker Hempfling, conductor

Donald Macleod focuses on Widor's final years.

Episodes

Series	Episode	Title	First Broadcast	Comments
2015	01	The Organ Prodigy	20150511	Donald Macleod explores the life and music of Charles-Marie Widor. In his lifetime, Widor was feted throughout Europe as a performer, teacher, and composer of ballets, opera, concertos and organ symphonies, Today he is largely remembered for just one work. This week, Dr John Near joins Donald Macleod to journey through the world of Widor, looking beyond his famous organ Toccata to explore the composer's chamber and orchestral music. The young Widor emerged as an organ prodigy in the 1860s, with the support and encouragement of the famed organ builder Aristide Cavaill退-Coll. He was soon offered a post at the church of St. Sulpice in Paris, and became a pivotal figure in Parisian cultural and social circles. His performances at the organ, and his works for the stage and concert halls attracted many, including royalty. Widor also joined the teaching staff at the Paris Conservatoire, and taught many luminaries of the next generation, including Vierne, Kodကly, Varese and Messiaen. Widor lived into his nineties and remained active into his final years, founding the Casa V退lazquez in Madrid for French artists to study Spanish culture. Playing and building organs ran in the Widor family. Young Charles-Marie was first hoisted onto the organ bench at the age of four where his father would teach him the mysteries of the instrument. By the time he was eleven years old, Widor was awarded a scholarship to study at the Lycee in Lyon. He was able to earn his keep by playing the organ at mass and vespers at the city's Jesuit College. Widor would go on to compose much liturgical music during his long career, including his Mass Opus 36 for two choirs and two organs. Supported by the organ builder Aristide Cavaill退-Coll, Widor was sent to study organ with Jacques Lemmens and composition with Fran瀀ois-Joseph F退tis. After this burst of intense learning, Cavaill退-Coll utilised his prot退g退's now exceptional skills by sending Widor off around Europe to champion instruments manufactured by his mentor's firm. Later, Cavaill退-Coll helped Widor secure his first significant position as organist at the church of St. Sulpice in Paris, where he was to remain for sixty-four years. Donald Macleod focuses on how as an emerging prodigy, Widor dazzled audiences at the organ
2015	02	Widor Causes A Stir	20150512	He was famed throughout Europe as a performer, teacher, and composer of ballets, opera, concertos and organ symphonies, although today he is largely remembered for one work, his Toccata for organ, this week Donald Macleod explores the life and music of Charles-Marie Widor. Widor was dazzling Paris with his organ performances at the church of St. Sulpice. The social elite of the city would be allowed to sit in the organ loft with Widor and watch him perform, including the banker Frederic d'Erlanger, to whom the composer dedicated his Trio Opus 19. The Cavaill退-Coll instrument at St. Sulpice offered a rich palette to composers, and soon Widor started writing sets of symphonies for his instrument, although some commentators couldn't understand how you could composer a symphony for solo organ. Mixing in the cultural circles of Paris was very important to Widor. He composed many songs during his career, and dedicated them to various aristocrats and artists. Widor was also socialising with the musical elite, including Liszt, and he attended one of the first performances of Wagner's Ring Cycle at Bayreuth. He was keen to push musical boundaries himself, and his symphonic poem La Nuit de Walpurgis, the witches' Sabbath, caused quite a stir. Some critics thought that Widor was going too far! Donald Macleod on the controversy Widor's symphonic poem La Nuit de Walpurgis caused.
2015	03	Appointed To The Paris Conservatoire	20150513	He was famed throughout Europe as a performer, teacher, and composer of ballets, opera, concertos and organ symphonies, although today he is largely remembered for one work, his Toccata for organ, this week Donald Macleod explores the life and music of Charles-Marie Widor. Widor's music was becoming known internationally. His next big hit came with his ballet La Korrigane, The Goblin Maiden. The premiere at the Paris Opera was a huge success, and was attended by Edward, Prince of Wales who took curtain calls with the composer. On the recommendation of His Royal Highness, Widor received a commission to compose music for the Royal Philharmonic Society, marking the tenth anniversary of the Father Willis organ at the Royal Albert Hall. For this occasion Widor composed his Symphony Opus 42a for organ and orchestra. In 1890 Widor returned to England for another Royal Philharmonic Society event, the performance of his Fantaisie in A flat major Opus 62. This work went down very well and remained popular throughout the composer's lifetime. In the same year, following the death of Cesar Franck, Widor was appointed organ professor at the Paris Conservatoire. He was met with hostility from some of his new students, but he soon won them over with his knowledge and abilities. Focusing on Widor's work as a teacher and curtain calls taken with the Prince of Wales.
2015	04	Promoted At The Paris Conservatoire	20150514	He was famed throughout Europe as a performer, teacher, and composer of ballets, opera, concertos and organ symphonies, although today he is largely remembered for one work, his Toccata for organ, this week Donald Macleod explores the life and music of Charles-Marie Widor. Widor had a number of huge hits under his belt, including not only organ music, but works for the stage and concert platform as well. A work of his which has stood the test of time along with his Toccata for organ, is Widor's Suite Opus 34 for flute and piano, composed in the mid 1880s. Although much of Widor's time was taken with teaching organ at the Paris Conservatoire, and his post at the church of St. Sulpice, he still received commissions from abroad, including a new work to be performed in Geneva, his Symphony No 3 Op 69 for organ and orchestra. There was a turning point for Widor in 1895. His music started to take on a much more serious nature, and he became increasingly interested in Gregorian chant. It was during this period, just before the start of the twentieth century, that Widor's career took another significant turn, when he was appointed Professor of Composition at the Paris Conservatoire. How a new position confirmed Widor's status as one of France's pre-eminent musical figures
2015	05 LAST	A Musical Statesman	20150515	He was famed throughout Europe as a performer, teacher, and composer of ballets, opera, concertos and organ symphonies, although today he is largely remembered for one work, his Toccata, this week Donald Macleod explores the life and music of Charles-Marie Widor. In the last thirty years of Widor's long life, he saw his own musical style become more out-of-date. He was far from giving up though, and with his appointment to the French Academy of Fine Arts, Widor had plenty to do. He now held the highest official post for a musician in France, and utilised his position to help artists in need. During the Great War he refused to leave Paris, feeling that he was honour bound to remain at the Institut and do what he could. His composing activities were now much reduced. During the war he composed a solitary song Dormez, M耀lit退, and in 1934 came his last work for the organ, Trois Nouvelles Pi耀ces Opus 87. Yet Widor continued to work tirelessly, establishing a new French cultural institute in Madrid, and also London, and completing over 60 years as organist at St. Sulpice in Paris. One of Widor's final masterpieces, on a Mahlerian scale, was his Symphonie antique Op 83 for soloists, choir, organ and orchestra. Les Pꀀcheurs de Saint-Jean (Marche de No뀀l) Royal Scottish National Orchestra Martin Yates, conductor Cello Sonata in A major Op 80 (Allegro moderato) Mats Lidstr怀m, cello Bengt Forsberg, piano Michael Bundy, baritone Jeremy Filsell, piano Classique d'aujord'hui (Trois Nouvelles Pi耀ces Op 87) Ben van Oosten, organ Symphonie antique Op 83 for soloists, choir, organ and orchestra (Moderato) Domkantorei Altenberg Gürzenich-Chor K怀ln Deutsch-Franz怀sischer Chor, K怀ln Andreas Meisner, organ Paul Wi߀kirchen, organ Radio Sinfonie Orchestra Pilsen Volker Hempfling, conductor Donald Macleod focuses on Widor's final years.