Charles-Marie Widor was one of those talents who were sent to Brussels by the genius organ builder Cavaillé-Coll to study with Lemmens. After Franck's death, Widor left his mark on the Paris organ school. Among his most important pupils was Albert Schweitzer, the author of a brilliant study on the 'Jesu-Forschung' as well as a standard work on Bach (for which Widor wrote an intriguing foreword),
… as well as a pamphlet on French and German organ building. Widor was the inventor of the symphony for organ. According to Schweitzer, Widor developed mainly from his Fifth Symphony (with the famous Toccata). The last two symphonies, based on Gregorian chant motifs, then crown this development. The first four symphonies can better be described as suites according to this view. For example, the present Fourth Symphony is more like a collection of salon pieces than a well-thought-out symphony. Nevertheless, it is worthwhile to nuance Schweitzer's version: a closer acquaintance reveals that the profundity so characteristic of the late symphonies can also be found in the early oeuvre. The Adagio from the Fourth, for example, has a few visionary moments, in which it seems as if the music is floating above several keys at the same time. (HJ) can also be found in the early oeuvre. For instance, the Adagio from the Fourth has a few visionary moments, in which it seems as if the music is floating above several keys at the same time. (HJ) can also be found in the early oeuvre. For instance, the Adagio from the Fourth has a few visionary moments, in which it seems as if the music is floating above several keys at the same time. (HJ)more
