Apr. 4, 2021
Widor 5 Toccata, Part III
(con't from Part II)
Ask a group of organists to describe in four words what will ruin Easter for them, and eventually someone will say, "Widor Symphony Five, Toccata" -- that same ringing, triumphant organ work so often associated with the postlude for important worship services during the liturgical year in general, and Easter in particular.
This attitude evidently stems from the demands made by this work in terms of length, its uninterrupted rhythm from beginning to end, the equal facility it requires of both hands, the time it takes to practice it for precision before increasing its speed to concert tempo, and any burnout they may feel when the reality of their practicing doesn't line up with their expectations.
Some players envision the day that they master this work as never arriving when the reality is -- there are much tougher organ pieces to perform from the standard repertoire than this one.
The truth of the matter is, more performers would be able to play this piece to their satisfaction if they would simply stop overworking at it, know what to do to minimize if not eliminate fatigue, and wouldn't give up on themselves so easily [See blog, Widor 5 Toccata, Parts I,II, Balance In Organ Playing, Parts I-III].