Charles-Marie Widor

Synopsis

French composer, organist, teacher

• 1844 born in Lyon
• 1863 Brussels to study organ with Lemmens and composition with Fétis
• to 1937 Paris

For details, see the Wikipedia article.

List of Organ Works

Click to sort by Opus number or Title

Opus	Title
13/1	Symphonie pour orgue No. 1 (1872, Hamelle)
13/2	Symphonie pour orgue No. 2 (1872, Hamelle)
13/3	Symphonie pour orgue No. 3 (1872, Hamelle)
13/4	Symphonie pour orgue No. 4 (1872, Hamelle)
31	Marche américaine (transc. by Marcel Dupré: no. 11 from 12 Feuillets d’Album op. 31, Hamelle)
42/1	Symphonie pour orgue No. 5 (1879, Hamelle)
42/2	Symphonie pour orgue No. 6 (1879, Hamelle)
42/3	Symphonie pour orgue No. 7 (1887, Hamelle)
42/4	Symphonie pour orgue No. 8 (1879, Hamelle)
64	Marche Nuptiale op. 64 (1892) (transc., from Conte d'Avril, Schott)
70	Symphonie Gothique pour orgue (No. 9), (1895, Schott)
73	Symphonie Romane pour orgue (No. 10), (1900, Hamelle)
73+	Bach's Memento (1925, Hamelle)
86	Suite Latine (1927, Durand)
87	Trois Nouvelles Pièces (1934, Durand)

General Perspectives on Performing These Organ Works

(For perspectives on a specific piece or genre, use the "List of Organ Works" above.)

Tempo and Meter

As to the metronome markings, they are indicative of the upper limit—not to be exceeded. My feeling is that he may have determined them at the piano. Both Widor and Guilmant commented that their metronome markings were too fast, that they were young when they wrote them! Of course, you must take into account the organ you are playing—the type of action and timbral character—the acoustical setting, and above all musicality and articulations. (WikiAdmin citing John Near)