Widor's Choral Variations, Op. 74 (arranged by Isidor Philipp for two pianos)

This is an arrangement by Isidor Philipp for two pianos of Charles-Marie Widor's Choral Variations, Op. 74 (1900). Philipp was close to Widor. For more on their relationship, please refer to the entry on Widor's Toccata arranged for two pianos. When Philipp published his collection of Bach's organ works arranged for two pianos (12 pieces in total) from Ricordi, Widor, an authority on Bach, fully cooperated with Philipp's arranging activities, including contributing detailed commentary. It is presumed that Philipp undertook the arrangement of this work also under Widor's strong request and active support.

The original work is a concertante piece for harp and orchestra, dedicated to Alphonse Hasselmans, the foremost harpist of his time. A reduction for harp and piano by Widor himself was published earlier. In Debussy's Danses sacrée et profane and Ravel's Introduction and Allegro, which are also concertante works for harp like the present piece, the composers' own reductions for harp and piano are treated as interchangeable with the two-piano version. However, unlike these, the present work was newly arranged by Philipp specifically for two pianos. It is titled "Transcription de concert" and is a completely separate version from the reduction.

Andante, 4/4 time, G-flat major. It begins quietly with a gentle, narrative monologue. The chorale theme is noble yet approachable. The theme itself possesses an unfathomable depth, being neither purely vocal nor purely instrumental. The variations, which subsequently develop in earnest, exhibit free changes in tempo and myriad expressions. After several waves of exaltation, they finally reach a finale that proudly sings of overflowing joy.

Throughout, the composition maintains an entirely orthodox style, imbued with an unhurried grandeur. There is no disarray, no deviation, no metrical irregularity. Behind the impeccably neat and precise writing lies an overwhelming driving force that imperceptibly draws the listener into a vast vortex of euphoria. It possesses a capacity for embracing and affirming all human emotions, and leaves a warm sense of fulfillment that lingers in the listener's heart. Here lies Widor's true essence, which, even now, remains insufficiently known outside of dedicated organ enthusiasts. Philipp succeeded in reproducing all these virtues on two pianos. Even as the 19th century drew to a close, the lifeblood of the Romantic golden age continued unabated, casting an astonishingly vivid afterglow. This is an inexhaustible treasure trove of masterpieces for two pianos from modern France. We earnestly hope that as many people as possible will experience a part of this.