Widor : Symphonie No. 8 in B, Op.42 No.4 : D'Arcy Trinkwon

Widor's magnificent Symphony No.8 has been called the 'Hammerklavier' of the organ repertoire. Huge in concept, vision and length - lasting some 50 minutes, it is longer even than his 7th. At the time these two massive symphonies were written – 1887 - they were the two largest works yet written for the organ. Big in size, but also intent and impact, they displayed Widor’s ever-more focused intent of writing for the instrument: the extravagant display of some of his earlier writing had gone – there now began to appear an certain austerity and a seriousness... Those who think Widor was all about the infamous Toccata - think again! There were originally 7 movements, the sober Prélude which originally preceded the Variations being removed by Widor in his later revised editions. However, I've always included these as I think they set the stage for the variations and I think the piece very reflectively moving. The movements are: 1. Allegro risoluto 2. Moderato cantabile 3. Allegro 4. Prélude 5. Variations 6. Adagio 7. Finale From the heraldic, joyful opening movement to the furious and broodingly dark Finale, there is so much to delight and draw the listener into this long, virtuoso work: the 'bel canto' Cantabile so admirably displays Widor's remarkable gift for a beautiful melodic line, as does the mysteriously passionate theme of the more profoundly expressive Adagio, whilst the transcendental Allegro (in effect the scherzo) flies by with airy purpose and a touch of humour... The weighty Variations are seldom played and often omitted when people (alas, all-too-rarely) programme the work ; a great pity. In them, Widor displays a Brahmsian grandeur and complexity in the long and brooding development. Only briefly lightened by a charming pastorale-like interlude featuring the hautbois, the music anew erupts in a paean after which it dies away to a dignified, understated conclusion. His mastery of tension and melodic line are all to be heard, of course, and any sense of the superficial is long-gone... The whole is a work which demands stamina from both player and listener - but its hardly a tough challenge when it's such beautiful and exciting stuff. I gave this performance in London back in 1994 as part of the Hammersmith Organ Festival.