Cortège et Litanie, Op. 19, No. 2 Marcel Dupré (1886-1971)
Symphony for Organ No. 5 in F Minor, Op. 42 No. 1 – Charles-Marie Widor (1844–1937)
i. Allegro vivace
ii. Allegro cantabile
iii. Andantino quasi allegretto
iv. Adagio
v. Toccata
Program Notes
Like many of the French organists of the 20th century, Widor and Dupré were bound by lineage and legacy. Widor served as organist at Saint-Sulpice in Paris for over 60 years, beginning in 1869, overseeing the largest Cavaillé-Coll organ ever built, and helped define the symphonic organ style through his expansive “symphonies” written for solo organ. These works reflected and advanced the evolving orchestral capabilities of the instrument: with new features like ventils, expressive divisions, and stop-changing actions paired with new orchestral stops that opened up colors previously unimaginable. Dupré, who studied fugue and composition with Widor at the Paris Conservatoire, succeeded him at Saint-Sulpice in 1934. It was only natural that Dupré continued and expanded this tradition, pushing the symphonic idiom further still with a command of structure and color that built directly upon Widor’s foundations.
Marcel Dupré – Cortège et Litanie (1922) Originally written as incidental music for a play, Cortège et Litanie went through several transformations—first orchestrated, then arranged for piano, and finally transcribed by the composer for organ, both solo and with orchestra. It’s a curious journey that finally landed in the ideal organ idiom. The piece takes full advantage of the instrument’s coloristic range: harmonic flutes, clarinet, lush string ensembles at 16', 8', and 4', and the full chorus with reeds. The Cortège, or “solemn procession,” opens with a broad, harmonized melody, periodically interrupted by the tolling of a bell motif—played here on an 8' Principal, but originally intended for chimes. This motive invokes the bell ringing at the Introit of the Mass, directly following the prelude of the service. What follows is the Litanie, a chant-like melody repeated insistently, developed across a series of increasingly urgent invocations. At the climax, the Cortège returns and intertwines with the Litanie, building toward a jubilant toccata-like conclusion.
Charles-Marie Widor – Symphony No. 5 in F minor, Op. 42, No. 1
Though best known for its resplendent finale—the ever-popular Toccata—Widor’s Fifth Symphony for organ (1878) is a monumental five-movement work, spanning almost 40 minutes. It opens with an Allegro vivace, a vivid curtain-raiser that sets the stage for the symphony’s grand arc. Structured as a continuously evolving set of symphonic variations, the movement introduces a heroic and triumphant theme, which undergoes a series of transformations: first shy and playful, then bold and exuberant, later fluttering like a butterfly or buzzing like a bee. A poignant chorale intermezzo follows, giving way to a scherzo-like episode before the final, majestic restatement of the opening theme brings the movement to its close.
The second movement, Allegro cantabile, is built around a sensuous and lyrical melody first sung by the hautbois (oboe stop), then passed to the flute and later supported by rich string textures. The third, Andantino quasi allegretto, is a strikingly narrative movement featuring a repeated pedal ostinato that evokes a Spanish corrida, before subsiding into a more introspective, resigned mood.
The penultimate Adagio offers a contemplative and harmonically rich contrast—a chorale-like meditation full of warmth and quiet grandeur. Its changing harmonies and sustained strings evoke rays of sunlight passing through stained glass, with the melody played by the pedals, serving as an introspective foil to what follows in the final movement.
The famous Toccata needs little introduction: a perpetual motion tour de force, its glittering sixteenth-note figuration in the right hand, rhythmic drive in the left, and powerful pedal theme create one of the most exhilarating climaxes in the organ repertoire: jubilant, unrelenting, and joyously cathartic.
Biography of Eddie Zheng
Driven by a passion to bring the beauty and grandeur of organ music to wider audiences, Eddie Zheng is a rising concert organist whose performances have been “rapturously received” by diverse audiences around cities across the United States, Canada, France, and China. He has won several competitions, receiving the highest awarded prizes at the 2018 Albert Schweitzer Organ Competition, 2019 American Guild of Organists Northeast Organ Competition, and 2024 Pierre de Manchicourt International Organ Competition in St. Omer, France.
In addition to concertizing, Eddie is dedicated to broadening the appreciation of organ music and engaging with audiences of all ages through service playing and teaching. He currently serves as Assistant Organist at Saint Ignatius of Antioch Episcopal Church in New York, as well as Associate Organist at Eglise St. Jean Baptiste and Guest Organist of The Riverside Church. He also maintains a thriving teaching studio with more than ten organ students.
Eddie's journey with the organ began at the Juilliard Pre-College division, where he studied with Matthew Lewis before earning his BM, MM, and Artist Diploma (‘25) from Juilliard with Paul Jacobs. Eddie has been fortunate to study privately or in masterclasses with several of the world's most respected organists, including Peter Richard Conte, Olivier Latry, Nathan Laube, Thomas Murray, and Johann Vexo.
In his free time, Eddie enjoys fixing motorcycles, reading books, and brewing espresso. More information can be found on Eddie Zheng’s website.