Album insights
Charles-Marie Widor was a notable French organist and composer from 1869 to 1933, serving at St. Sulpice in Paris and subsequently succeeding Franck at the Paris Conservatoire as an organ professor. Apart from his ten organ symphonies, one of his most renowned works is his Technique de l'orchestre moderne (Paris, 1904). Within Widors Bach Memento, which consists of adaptations of Johann Sebastian Bach's works, the "March of the Night Watchman" holds the fourth position. This adaptation, titled "very free paraphrase" rather than a faithful rendition, creates a whimsical figure wandering joyfully through nocturnal streets, drawing inspiration from the church hymn by Nicolai.
Maurice Duruflé, another Parisian organist like Widor and Franck, worked at the St. Etienne-du-Mont Church in Paris from 1930 until his passing in 1986. His Suite op. 5 from 1934, dedicated to Dukas, includes the second movement, the Sicilienne, known for its beauty. The oboe theme recurs thrice, adding a rondo-like structure. This composition exudes an improvisatory feel, reminiscent not of Franck but of Debussy's Clair de Lune. The gentle yet intricate tones evoke moonlit gardens rather than the bustling streets depicted in Widors "Night Watchman." The piece concludes similarly to Franck's Prélude, Fugue et Variation, reintroducing the main theme accompanied by a cascading flute passage.
Herbert Sumsion, the third English cathedral organist in this lineup, served at Gloucester Cathedral from 1928 to 1967. Influenced by Vaughan Williams, his Air, Berceuse and Procession showcases a diverse musical tapestry. The first movement feels brisk and playful, while the second displays modal themes and sophisticated harmonies along Vaughan Williams' style. The piece's A-B-A form transitions from flowing melodies echoing Vaughan Williams to vigorous passages hinting at Percy Whitlock, evoking images of a processional at Gloucester Cathedral.
Alexandre Guilmant, the final Parisian organist featured here, succeeded Widor at the Paris Conservatoire and held positions at Ste. Trinité and Notre-Dame. His Choral: What God Does, That Is Well Done, a work from 1908 dedicated to Bonnet, comprises clear harmonizations that transition into a tenor melody and a canonic treatment. The piece evolves thematically, culminating in a robust four-voice fugue that signifies a powerful conclusion.
The recording concludes with Franz Liszt's Variations on Weinen, Klagen, Sorgen, Zagen, intertwining various musical threads. Similar to Widor's music, Liszt's variations stem from J.S. Bach's material and culminate in a grand F major finale, echoing Guilmant's thematic elements. Just as Guilmant's sorrowful events influenced his penultimate variation, Liszt composed this piece in response to his daughter's passing. The structured yet improvisational piece gradually transitions from anguish to a triumphant celebration, weaving an intricate musical narrative.