Book contents
- Frontmatter
- Contents
- List of Examples
- Preface
- Acknowledgments
- Introduction: “You know Bach: you know all”
- Part One Background
- 1 “Art does not know the absolute”
- 2 “The art of organ playing has not changed at all since Johann Sebastian Bach”
- 3 “In France we have neglected performance much too much in favor of improvisation”
- Part Two Maxims
- Appendix 1 Symphonies pour orgue, “Avant-propos”
- Appendix 2 Technique de l'orchestre moderne, “L'orgue”
- Appendix 3 Initiation musicale, “L'orgue”
- Appendix 4 L'orgue moderne; La décadence dans la facture contemporaine
- Appendix 5 Key to Widor's System of Abbreviated Registration, Symphonie gothique, First Movement
- Notes
- Bibliography
- Index
3 - “In France we have neglected performance much too much in favor of improvisation”
from Part One - Background
Published online by Cambridge University Press: 25 March 2020
- Frontmatter
- Contents
- List of Examples
- Preface
- Acknowledgments
- Introduction: “You know Bach: you know all”
- Part One Background
- 1 “Art does not know the absolute”
- 2 “The art of organ playing has not changed at all since Johann Sebastian Bach”
- 3 “In France we have neglected performance much too much in favor of improvisation”
- Part Two Maxims
- Appendix 1 Symphonies pour orgue, “Avant-propos”
- Appendix 2 Technique de l'orchestre moderne, “L'orgue”
- Appendix 3 Initiation musicale, “L'orgue”
- Appendix 4 L'orgue moderne; La décadence dans la facture contemporaine
- Appendix 5 Key to Widor's System of Abbreviated Registration, Symphonie gothique, First Movement
- Notes
- Bibliography
- Index
Summary
César Franck, venerated as an “Archange musicien” by his admirers, was renowned as a brilliant improviser and gifted composer. Titular organist at the Paris Church of Sainte-Clotilde since 1859, he was appointed organ professor at the Paris Conservatory in 1872. Known as “père Franck” by his pupils, he affectionately mentored those who enrolled in his organ class, which focused on improvisation. As to correct organ playing, however, Franck left no apparent legacy. Louis Vierne, a student in Franck's last organ class, recorded in his memoires: “Of the six hours of class each week, the maître devoted at least five to improvisation…. Performance interested him little…. To compensate, the maître's teaching produced some excellent improvisers.”
Upon Franck's death in 1890, Widor was appointed the new organ professor. He had been organist of Saint-Sulpice commanding the most imposing instrument in France for twenty years, composing eight symphonies for solo organ, and earning renown as an organist par excellence. He immediately and radically departed from the focus of his predecessor, declaring to his new class, “In France we have neglected performance much too much in favor of improvisation.” Although a fine improviser himself, Widor undertook to infuse into the veins of young French organists the appropriate style of playing the organ, which included a concomitant understanding of the inherent nature and capacities of the instrument. What did Widor teach about playing the organ correctly and authentically? One need only look to his detailed writings and the pertinent narratives of his students to learn how he advanced what may now be considered the “pure tradition” of the French Romantic organ school.
“Of all instruments,” wrote Widor, “the one that requires the greatest style is the organ; it is the organ whose mechanical and cold sound demands that one give it a soul. Style is the way in which each one expresses his thought.” To achieve this end, Widor promulgated the teachings of his maître Lemmens, in whom he always found the inspired example:
Lemmens was an unrivaled virtuoso; the return to true principles and sound doctrine dates back to him. Before him, there was neither theory, nor rule, nor discipline. Organists—failed pianists—trampled about after a fashion on their pedals, knees spread out like some frogs in a glass jar.
- Type
- Chapter
- Information
- Widor on Organ Performance Practice and Technique , pp. 13 - 18Publisher: Boydell & BrewerPrint publication year: 2019