Widor's Toccata from his 5th Symphony
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12 سال پیش
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Charles Marie Widor's (1844-1937) Toccata
Charles Marie Widor's (1844-1937) Toccata from his 5th Symphony in F-dur played on the organ in the chapel of St Stanislaus Institution by Janez Rus in December 2011. The mentor was doc. Dalibor Miklavčič
Descripton of the song trom Wikipedia (I find it interesting):
Widor's best-known single piece for the organ is the final movement, Toccata, from his Symphony for Organ No. 5, is often played as a recessional at wedding ceremonies and even at the close of the Christmas Midnight Mass at Saint Peter's Basilica (The Vatican City, Rome). Although the Fourth Symphony also opens with a Toccata, it is in a dramatically different (and earlier) style. The Toccata from Symphony No. 5 is the first of the toccatas characteristic of French Romantic organ music, and served as a model for later works by Boëllmann, Mulet, and Dupré. Widor was pleased with the worldwide renown this single piece afforded him, but he was unhappy with how fast many other organists played it. Widor himself always played the Toccata rather deliberately. Many organists play it at a very fast tempo whereas Widor preferred a more controlled articulation to be involved. He recorded the piece, at St. Sulpice in his eighty-ninth year: the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos.
Descripton of the song trom Wikipedia (I find it interesting):
Widor's best-known single piece for the organ is the final movement, Toccata, from his Symphony for Organ No. 5, is often played as a recessional at wedding ceremonies and even at the close of the Christmas Midnight Mass at Saint Peter's Basilica (The Vatican City, Rome). Although the Fourth Symphony also opens with a Toccata, it is in a dramatically different (and earlier) style. The Toccata from Symphony No. 5 is the first of the toccatas characteristic of French Romantic organ music, and served as a model for later works by Boëllmann, Mulet, and Dupré. Widor was pleased with the worldwide renown this single piece afforded him, but he was unhappy with how fast many other organists played it. Widor himself always played the Toccata rather deliberately. Many organists play it at a very fast tempo whereas Widor preferred a more controlled articulation to be involved. He recorded the piece, at St. Sulpice in his eighty-ninth year: the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos.
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