Par WIDOR CHARLES-MARIE. Charles-Marie Widor 's Symphonies for Organ, Op. 42 No. 2. Charles-Marie Widor (b. Lyons 1844, d. Paris 1937) first began his studies in his hometown, but later pursued them in Brussels, taking lessons with Nicolas-Jacques Lemmens on the Organ, and composition lessons with François-Joseph Fetis. In 1868, he inaugurated the Organ at Notre-Dame Cathedral in Paris. He also deputized for Saint-Saë ns at the Organ of La Madeleine, and then in 1870 he was provisionally nominated organist at Saint-Sulpice. It was not until 1933 that he relinquished this post in favour of his pupil Marcel Dupre. Followingthe death of Cesar Franck in 1890, it was Widor who was requested to direct Organ studies at the Paris Conservatoire, and he followed this by taking charge of the composition class in 1896. Among his very many students were figures such as Louis Vierne and Charles Tournemire. Widor was a founder member of the Casa Velasquez in Madrid and the American Conservatoire in Fontainbleu. He was an exceptional virtuoso who could be heard in concerts in France and throughout the whole world. He left numerous works, but it is above all his Organ music that is most performed today./ Répertoire / Orgue

Significantly remembered for his Organ works, Charles-Marie Widor 's (1844-1937) renowned Symphony 'Romane' is essential to the repertoire of all passionate organists. Widor became Director of Organ Studies at the Paris Conservatoire in 1890 and soon followed this by taking charge of the composition class. Nicknamed the 'Romane', the Symphony #10 reflects Widor 's mastery of the Organ, exploring all possibilities on the instrument, as well as deriving thematic material from plainchant. Made up of four movements, Symphony Romane is founded upon the Christmas Hymn, A Child is Born. The composer's invaluable experience, as well as his virtuosic ability of the Organ make this favourite and famous Symphony #10 by Charles-Marie Widor vital for advanced organists. / Orgue

Charles-Marie Widor’s Symphonies for Organ Op.42 No.2. Charles-Marie Widor (b. Lyons 1844 d. Paris 1937) first began his studies in his hometown but later pursued them in Brussels taking lessons with Nicolas-Jacques Lemmens on the Organ and composition lessons with François-Joseph Fétis. In 1868 he inaugurated the Organ at Notre-Dame Cathedral in Paris. He also deputized for Saint-Saëns at the Organ of La Madeleine and then in 1870 he was provisionally nominated organist at Saint-Sulpice. It was not until 1933 that he relinquished this post in favour of his pupil Marcel Dupré. Followingthe death of César Franck in 1890 it was Widor who was requested to direct Organ studies at the Paris Conservatoire and he followed this by taking charge of the composition class in 1896. Among his very many students were figures such as Louis Vierne and Charles Tournemire. Widor was a founder member of the Casa Velasquez in Madrid and the American Conservatoire in Fontainbleu. He was an exceptional virtuoso who could be heard in concerts in France and throughout the whole world. He left numerous works but it is above all his Organ music that is most performed today.

Par WIDOR CHARLES-MARIE. Charles-Marie Widor (1844-1937) composed this Mass, Op. 36 in 1878 for the St Sulpice church in Paris. The initial two choirs for which it was composed were comprised of around 200 and 40 voices, while the score for this version is for a choir of baritones and an SATB choir. The Organ part requires an advanced-level of ability as it contains some difficult parts. Divided into five sections, the entire work has been transposed one half step lower ‘ to avoid the awkward key of F sharp major'. These sections are: 1. Kyrie (Moderato & F# minor) 2. Gloria (Vivace & Lento, D major 3. Sanctus (Con brio, A major) 4. Benedictus ( Piú lento, A major) 5. Agnus Dei (Moderato, F# major) This really delicate and emotive Mass, Op. 36 is a piece that stands out by its majesty. Charles-Marie Widor was a great organist who did not only focus on Organ composition. From orchestra pieces to chamber music, he wrote various different compositions, including 10 symphonies for Organ, some Operas, and some Piano Concerti./ Répertoire / 2 Barytons, SATB, Orgue Acc (Duet)

This work is one of the most important organ compositions of the end of the nineteenth Century. It was written in the years 1894/95 though the earliest fragments date back to 1890. These had their origins in improvised Magnificat versets played by Widor at the inauguration of the Cavaillé-Coll organ of St. Ouen in Rouen. This new edition of the Wiener Urtext edition is based upon the first edition (no manuscript scores have survived) and on further editions published during Widor’s lifetime.A recording made in 1932 of Widor’s own playing has been studied in conjunction with the printed source materials. The varied ending played on that recording isincluded as an alternative. It bears witness to the composer’s improvisational treatment of his own work and the spirit in which the whole composition was originally conceived.

Par WIDOR CHARLES-MARIE. Les six Duos pour Harmonium et Piano furent composées autour de 1867 en première période créatrice de Charles-Marie Widor. Vingt ans plus tard, en octobre 1889, ils ont été publiés par Schott en six éditions distinctes. Cette réédition est la première publication qui contient tous les morceaux, soutenant ainsi la performance de ces magnifiques pièces pour la combinaison rare d'harmonium et piano./ Répertoire / Piano et Orgue ou Harmonium

Charles-Marie Widor (1844-1937) was a great organist who did not only focus on Organ composition. From orchestra pieces to chamber music he wrote various different compositions including Suite for Flute and Piano Op. 34 which was composed for Paul Taffanel. This suite a subtle mix of Romanticism and Classicism particularly stands out for its nuances and is composed of four movements: - Moderato - Scherzo - Romance - Final Charles-Marie Widor also composed 10 symphonies for Organ some Operas and some Piano Concerti.

Suite op. 34 for Flute and Piano-The name Widor is so closely associated with music for the Organ that his many compositions for other instruments can easily be overlooked. The Suite for Flute and Piano presumably composed in1877 stands out amongst chamber music works on account of the wealth of expressive and tonal nuances.The late Romantic work is specially tailored to the possibilities of the Flute; and it is no accident that it wasdedicated to the most important French flautist and flute teacher of the time Paul Taffanel who gave its first performance in 1884. From the very beginning the four-movement Suite has been very popular and now belongs to thecore repertoire for Flute and Piano.