Contents

pp v-vi

List of Examples

pp vii-x

Preface

pp xi-xiv

Acknowledgments

pp xv-xvi

Introduction: “You know Bach: you know all”

pp 1-2

Part One - Background

pp 3-4

1 - “Art does not know the absolute”

pp 5-8

2 - “The art of organ playing has not changed at all since Johann Sebastian Bach”

pp 9-12

3 - “In France we have neglected performance much too much in favor of improvisation”

pp 13-18

Part Two - Maxims

pp 19-20

4 - Excerpts from Widor's Preface to Jean-Sébastien Bach—ɶuvres complètes pour orgue, Vols. 1–4, and Correlative Commentary

pp 21-74

Appendix 1 - Symphonies pour orgue, “Avant-propos”

pp 75-78

Appendix 2 - Technique de l'orchestre moderne, “L'orgue”

pp 79-92

Appendix 3 - Initiation musicale, “L'orgue”

pp 93-96

Appendix 4 - L'orgue moderne; La décadence dans la facture contemporaine

pp 97-110

Appendix 5 - Key to Widor's System of Abbreviated Registration, Symphonie gothique, First Movement

pp 111-112

Notes

pp 113-142

Bibliography

pp 143-146

Index

pp 147-151