1886 Merklin; 1960 Kuhn; Nicolle, Valentin, Meslé organ at Sanctuaire Saint-Bonaventure, Lyon, France

The pipe organ of 19th century France offered players a virtual symphonic soundscape, and this week we’ll listen to a pair of works that exploit those resources to the full. Charles-Marie Widor at the Church of Saint Sulpice, was the first to thoroughly articulate a symphonic organ style, creating scores rich in color and virtuosity. Widor’s pupil and colleague, Louis Vierne at Notre Dame Cathedral, increased the emotional intensity of the genre to embrace passion, heartbreak and rage. Nine soloists on as many instruments play the Fourth Symphonies by this pair of famous composers, creating the grandest sort of sonic experience. We’re not kidding when we say it’s as simple as Four by Four.

…a dramatic, romantic French organ symphony with some of its composer’s other thoughts regarding it included.

…a summary salute to the memory of several composers who reached significant milestones in the first half of this year.

…musical tributes to composers who achieved significant birthday anniversaries during this and other recent months.

…continuing our Franz Liszt Bicentennial tribute with original scores and arrangements by Liszt and others that further realize the pipe organ’s promethean potential.

Grandeur and majesty. Passion and poetry. These are the elements of a new musical style that evolved in Paris in the latter 19th-century which revolutionized the art of the organ. On our next Pipedreams broadcast, we’ll hear two ‘firsts’ - two symphonic works for solo organ by Charles-Marie Widor and his pupil and, ultimately, competitor, Louis Vierne. Inspired by the sonorities of the lavish new instruments designed by master organ builder Aristide Cavaillé-Coll, both Widor, who was the first to call a composition an organ symphony, and Vierne created musical masterpieces that are both a challenge to play and a joy to hear.