<\/p>\n
The last organ symphonies<\/p>\n
The orchestral character of the organ was so central and evident to Charles Marie Widor (1844\u20131937) that he named his organ pieces symphonies rather than sonatas. Rightfully so, one might add \u2013 especially when hearing the last two performed and recorded on the magnificent instrument in \u00c5rhus cathedral by Bj\u00f8rn Boysen. In the last two organ symphonies, Widor for the first time made use of musical material taken for the Roman Catholic liturgy. The Christmas introit \u2018Puer nautus est\u2019 is the basis of the last two movemtents of the ninth symphony, and in the tenth he chose to base the entire work on Gregorian material.<\/p>\n
<\/p>\n
The orchestral character of the organ was so central and evident to Charles Marie Widor (1844\u20131937) that he named his organ pieces symphonies rather than sonatas. Rightfully so, one might add \u2013 especially when hearing the last two performed and recorded on the magnificent instrument in \u00c5rhus cathedral by Bj\u00f8rn Boysen.<\/p>\n
Widor himself was the organist of St. Sulpice in Paris, performing on the greatest of the Cavaill\u00e9-Coll organs. In 1893 the young Albert Schweitzer came to study with Widor, and he was to become very important for the future development of the composer. Schweitzer brought new knowledge of Bach\u2019s organ works to Widor \u2013 demonstrating how Bach followed the Lutheran hymn texts in the chorale preludes.<\/p>\n
There is much to indicate that this new information about the theological dimension in Bach\u2019s organ music was a vital source of inspiration to Widor. In the last two organ symphonies, Widor for the first time made use of musical material taken for the Roman Catholic liturgy. The Christmas introit \u2018Puer nautus est\u2019 is the basis of the last two movemtents of the ninth symphony, and in the tenth he chose to base the entire work on Gregorian material.<\/p>\n
Schweitzer himself was a strong spokesman for the French organ, and in \u00c5rhus he managed to turn the restoration of the instrument from a German project into a unique northern organ with a French accent, finished in 1928. Bj\u00f8rn Boysen is among Norway\u2019s foremost concert organists with tours in numerous European countries. Boysen has performed on many recordings and has appeared regularly on Norwegian national radio and television. He is the organist of the Oslo Concert Hall, and Professor of the organ at the Norwegian Academy of Music.<\/p>\n
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