Presents
Charles-Marie Widor
Piano Quartet in a minor, Op.66
In his chamber music Widor displays a melodic elegance that is characteristically French. There is delicacy of texture and of tonal color, and yet, there is also much vigor and passages of great power. ---From the Chamber Music Journal.
Charles-Marie Widor (1844-1937) today is primarily remembered for his organ compositions and as one of the greatest organists of all time. Widor was born in Lyons and studied first studied with his father, also an organist, and then at the Brussels Conservatory. In 1870, upon the recommendation of Charles Gounod and Camille Saint-Saens, he was appointed to the most important position an organist could hold in France, the position of organist at Saint Sulpice Church in Paris. In 1890, he succeeded Cesar Franck as Professor of Organ at the Paris Conservatory and many important composers, including, Darius Milhaud, Louis Vierne, Marcel Dupre, and Edgar Varese, studied with him. He composed throughout his life in virtually every genre and left a considerable amount of chamber music. The fact that his chamber music along with his other non-organ compositions have been ignored is because of his tower contribution to the organ literature. But Cobbett's Cyclopedic Survey of Chamber Music states that his chamber music is of the first rank and as good as that of Saint-Saens.
"His Piano Quartet in a minor, Op.66 dates from 1891. The opening Allegro moderato makes a strong impression by virtue of the two main themes and his rather original use of rhythm, especially in the piano. The second movement, Adagio poco piu mosso, begins rather sedately with a very romantic lyrical theme. But this is followed by several different tempo sections—Agitato, then Tranquillo, then Piu lento, then Poco a poco agitato, and then Poco piu vivo. As you can imagine from the constant tempo changes the whole effect is rather unsettling. It is a kind of rhapsody, but a very restless one. The third movement, Vivace, for all intents and purposes is a bright and fleet scherzo. Again, the rhythm is very pronounced and quite effective. The finale, Allegro ma non troppo, bursts forth in a very dramatic fashion with the piano giving out the powerful theme over the strings quick 16th notes. When they take up the melody it becomes apparent that it is quite lyrical. It is a hard driving piece, riveting most of the time. All in all, a superb work which belongs in the concert hall. Very good amateurs should also make its acquaintance."---Guide to the Piano Quartet Literature.
Parts: $34.95
