Book contents
- Frontmatter
- Contents
- List of Illustrations
- Foreword
- Preface
- Acknowledgments
- Introduction: Tribute to Charles-Marie Widor
- Part One Studies, Early Performances, and Aristide Cavaillé-Coll (1844–69)
- Part Two La Belle Époque: The Franco-Prussian War to The Great War (1870–1914)
- Part Three The Great War and Important Initiatives (1914–37)
- Appendix 1 Birth record of Charles-Marie Widor, 1844
- Appendix 2 Widor’s Diplôme de Bachelier ès Lettres, 1863
- Appendix 3 Widor’s letter of appreciation to Jacques Lemmens, 1863
- Appendix 4 Brussels Ducal Palace organ specification, 1861
- Appendix 5 Widor’s certificate for Chevalier de l’Ordre du Christ, 1866
- Appendix 6 “To Budapest,” 1893
- Appendix 7 Widor’s travels to Russia and his 1903 passport
- Appendix 8 Widor’s list of his works in 1894
- Appendix 9 The Paris Conservatory organs, 1872
- Appendix 10 Chronique [Widor’s appeal for an organ hall at the Paris Conservatory, 1895]
- Appendix 11 Widor’s certificate for the Académie Royale, Brussels, 1908
- Appendix 12 “Debussy & Rodin,” 1927
- Appendix 13 The American Conservatory organ, Fontainebleau, 1925
- Appendix 14 Letters concerning the Trocadéro organ restoration, 1926
- Notes
- Bibliography
- Index
- Eastman Studies in Music
8 - 1870: Appointment to Saint-Sulpice, Paris
Published online by Cambridge University Press: 09 May 2024
- Frontmatter
- Contents
- List of Illustrations
- Foreword
- Preface
- Acknowledgments
- Introduction: Tribute to Charles-Marie Widor
- Part One Studies, Early Performances, and Aristide Cavaillé-Coll (1844–69)
- Part Two La Belle Époque: The Franco-Prussian War to The Great War (1870–1914)
- Part Three The Great War and Important Initiatives (1914–37)
- Appendix 1 Birth record of Charles-Marie Widor, 1844
- Appendix 2 Widor’s Diplôme de Bachelier ès Lettres, 1863
- Appendix 3 Widor’s letter of appreciation to Jacques Lemmens, 1863
- Appendix 4 Brussels Ducal Palace organ specification, 1861
- Appendix 5 Widor’s certificate for Chevalier de l’Ordre du Christ, 1866
- Appendix 6 “To Budapest,” 1893
- Appendix 7 Widor’s travels to Russia and his 1903 passport
- Appendix 8 Widor’s list of his works in 1894
- Appendix 9 The Paris Conservatory organs, 1872
- Appendix 10 Chronique [Widor’s appeal for an organ hall at the Paris Conservatory, 1895]
- Appendix 11 Widor’s certificate for the Académie Royale, Brussels, 1908
- Appendix 12 “Debussy & Rodin,” 1927
- Appendix 13 The American Conservatory organ, Fontainebleau, 1925
- Appendix 14 Letters concerning the Trocadéro organ restoration, 1926
- Notes
- Bibliography
- Index
- Eastman Studies in Music
Summary
Saint-Saëns, having been asked by Liszt to come and direct the rehearsals of Samson et Dalila in Weimar where he was a great master of music, asked me to fill in for him at La Madeleine. It was during Christmas week in 1869. Naturally, I was quite young and happy to replace my illustrious friend at the keyboards of his beautiful instrument. One evening, while the Adeste fideles was being sung, one of the cantors whispered to me: “Lefébure-Wély, the organist of Saint-Sulpice, has just died; the succession is vacant.” This was very emotional for me, since Cavaillé wanted me at Saint-Sulpice. I was soon to feel the hostility of many organists in Paris, directed against a newcomer whom influential people wanted to appoint as organist of one of the most beautiful posts—of the most beautiful and largest organ in France and in Europe at that time. The famous German organist Adolf Hesse, who had the opportunity to play it, said it was the most complete and most perfect organ in the world.
A veritable cabal was thus directed against me—a cabal with which Cavaillé-Coll, Saint-Saëns, and Gounod refused to be associated. I will never be able to express sufficiently my gratitude for the devotion of the man I called “père Cavaillé,” who from morning to night tirelessly led me to visit one or another politician, member of the clergy, scholar, and artist. Didn't we go and surprise Léon Foucault, Baron Thénard, and Jules Lissajous, who then taught physics at the Collège de France, etc.?
The parish priest of Saint-Sulpice, Abbé Hamon, was a man of great distinction. Unfortunately, he knew nothing about music. Faced with the insistence of his organbuilder, he was naturally very impressed, but not enough to commit himself fully. Hence my provisional appointment on January 13, 1870, which I realize today was never made official. However, a few days later, on January 16, I took possession of the grand orgue, on the occasion of the patronal feast.
At that time, père Cavaillé made it a point of honor to present me in my different aspects as pianist, composer, and organist. I was an excellent pianist, having been well trained under the tutelage of Giuseppe Luigini, the conductor of the Grand Théâtre de Lyon.
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- Autobiographical Recollections of Charles-Marie Widor , pp. 23 - 24Publisher: Boydell & BrewerPrint publication year: 2024