Charles-Marie Widor: Charles Marie Widor: Andante cantabile: Flute: Instrumental

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

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)

Par WIDOR CHARLES-MARIE. The Suite Florentine for violin and piano written by Charles-Marie Widor in 1919, is an arrangement of the Suite for Violin and Piano, op. 76 (1903), itself a collection of stage music from La Sulamite (1903). It was first performed at the Élysée Palace on 20 February 1919 for Queen Hélène of Italy. Widor played the piano on that occasion and dedicated the work to the Queen. Like many of Widor's later works, it has no opus number. The suite highlights Widor's great talent for adopting the harmonic languages of various stylistic periods and his harmony is very eclectic. Johann Sebastian Bach is a great favourite and a clear influence. / Niveau : 6 / Répertoire / Flûte Traversière et Piano

Par WIDOR CHARLES-MARIE. French organist, composer and teacher, Charles-Marie Widor (1844-1937) is predominantly known for his Organ symphonies. However, his Introduction et Rondo for Clarinet and Piano also remains popular and is still regularly performed today. Widor became Director of Organ Studies at the Paris Conservatoire in 1890 and soon followed this by taking charge of the composition class. His Introduction et Rondo was composed in 1898 during his period at the Conservatoire and at the height of his career. The piece exploits the Clarinet to its full potential, creating a challenging yet exciting performance on the instrument. Widor 's Introduction et Rondo is essential to the repertoire of all advanced clarinetists./ Répertoire / Clarinette et Piano

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.

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.

Charles-Marie Widor is best known for the Toccatta the finale from his Fifth Symphony for Organ but the real heart of his compositional oeuvre lies in the ten Organ symphonies and there is much to be discovered in the rest of his compositional output. This Mass was originally written in 1878 for a choir of Baritones the Chorus of the seminary next door to St Sulpice in Paris the church where he was temporary Organist for sixty-four years and mixed Chorus and two Organs. Although Widor lived in Paris during the years of the radicalism of the decades following World War I he retained a conservatism in composition and musicianship that is evident in this powerfulMass.The entire work has been transposed one half step lower ‘to avoid the awkward key of F sharp major’.