Widor : Symphonie No.5 in F minor, Op.42 No.1 - including THE Toccata : D'Arcy Trinkwon

Widor’s Toccata… the concluding movement of this wonderful symphony, is known to all... and it is thus terrifying to play… but thrilling, so, so thrilling… But the rest of the symphonie (I always prefer to use the French title, differentiating as it does, from a typical orchestral symphony: the genres are not the same) is just beautiful – I’m particularly fond of the middle section of the second movement (flute calls v. celeste), the magic of the Adagio… and the third movement which is all-too-often unfairly dismissed by some. Then there’s the magic unfurling of the opening variations, rising to their magnificent conclusion. There are five movements: I. Allegro vivace II. Andante cantabile III. Andantino quasi allegretto IV. Adagio V. Toccata There is a perennial debate about how fast (or slowly...) the toccata should go… Widor himself changed his mind a few times… and for me, the speed changes depending on each instrument: the impact on a great, imposing Tutti on a Cavaillé-Coll (or similar) can never be achieved on instruments of far less 'puissance' - and then the impact may be better made by the thrill of joyful speed, which in turn may lessen the somewhat shallow musical content but increase the effect differently. All music can sound entirely different in different places… I was stunned when, in my early teens, I first heard the version of the great Jeanne Demessieux from Liverpool: to me, her brilliant staccato and lightning speed made it sound like a galaxy of stars in a huge night sky or diamonds and jewels glittering brilliantly against some beautiful backcloth. (By contrast, I’ve also had to endure performances so slow, laboured and devoid of joie de vivre that they sound as though death is imminent, suffering enternal………………….. I know which I prefer!) I’m always amused by Widor’s own reaction when asked to record in 1932 (he was then 88 by the way…) by His Masters’ Voice: with his innate dignity and aristocratic humour, he wrote back to Pietro Coppola, the Artistic Director: “You see, my friend, that you must account for the fact that I no longer have fingers and at my age I am more ready for the grave than the organ; but, if this is of interest to you, I will gladly to it - we can get a laugh out of it together!”. I’m deeply fond of the symphony (well, I am of nearly everything I play): the second LP I ever bought, around 1979, was Jane Parker-Smith’s 1977 EMI recording from Salisbury… I listened in awe, daring to dream that one day I’d be able to play it too… I was totally captivated by it all : of course, Jane became one of my great idols and later mentors and friends... I gave this performance back 1994… Jane and I presented all 10 symphonies (plus lots of other stuff) spread over 10 concerts: she did 2, 3, 6, 7 and the Gothique - I did 1, 4, 5, 8, and the Romane... (I'll upload her 7 soon...)