Marco Enrico Bossi (1861-1925)
Concerto pour orgue, cordes, 4 cors et timpani en la mineur, op. 100

Joseph Jongen (1873-1953)
Hymne pour orgue et orchestre, op. 78

Francis Poulenc (1899-1963)
Concerto pour orgue en sol mineur, FP 93

Tommaso Maria Mazzoletti, orgue
Helvetica Orchestra
Eugène Carmona, direction

Cet album thématique se justifie surtout par la présence du Concerto de Marco Enrico Bossi (1841-1925) et de l'Hymne op. 78 de Joseph Jongen (1873-1953). Admiré par d'Annunzio et par Verdi qui y décelait une puissance et une audace remarquables, le Concerto op. 100 de Bossi est peut-être son chef d’œuvre. Il est emblématique du courant post romantique italien. Majestueux et intimiste, alliage de virtuosité et de pathos, l’œuvre n'est pas sans évoquer Rachmaninov,Tchaikovski ou encore Brahms (l'Adagio ma non troppo). Le mouvement d'ouverture est un long crescendo dramatique qui évolue en acmé symphonique. Orchestre et soliste fusionnent et jouent à part égale. L'Allegro final fait d'ailleurs intervenir les cuivres (trompettes) tel un élément de registration. L'Hymne de Jongen est une rareté. Là aussi l'orgue s'inscrit comme un instrument d'orchestre, lové dans un écrin de cordes, il déploie une ligne mélodique infinie caractéristique du style impressionniste du compositeur belge. Excentrique et bigarré, le Concerto de Poulenc qui complète le programme bénéficie lui aussi des ressources incommensurables de l'orgue de Gland, extraordinaire vaisseau où la transmission se fait par fibre optique, italien certes mais doté de toute la technologie suisse. (Jérôme Angouillant)

When we think of a concerto for solo instrument and orchestra, the organ is certainly not the first instrument that comes to mind. And yet, the symphonic organ is perfectly adapted to the role of soloist, being capable of duelling as well as duetting with the orchestra. The Concerto for organ, strings, horns and timpani Op.100 by Marco Enrico Bossi, for example, is one of the most important and successful pieces in the entire repertoire, and yet it does not enjoy the recognition it deserves among the wider public. Structured in three movements of genuine expressive power, this is music that is both majestic and intimate, able to touch the hearts of listeners and performers alike – a work on which this great composer really lavished his extraordinary creativity. After reading through the score, Giuseppe Verdi was effusive in his praise for the Concerto Op.100, acknowledging the music’s ‘extremely bold and powerful effects’. His visionary genius is clearly displayed in the Concerto Op.100, whose solo part calls for a dynamic and symphonic organ that didn’t yet exist in Italy at the time when he was a student but which he was probably already dreaming up. Hymne by Joseph Jongen is a real rarity. The organ has less of a ‘solo’ role than in the Bossi and Poulenc works; rather, it blends into the warm textures of the orchestra as an integral part of the sonic conversational flow so typical of Jongen’s impressionist idiom. Here too, the composition of the Gland organ and its eminently full, warm and poetic sound are an ideal showcase for the mysterious atmosphere of this work. Unlike the Bossi and Jongen works, the Concerto for organ, strings and timpani by Francis Poulenc is very well known indeed. Uncharacteristically written in a single movement divided into seven sections, this concerto is surely one of the best-known organ works of the 20th century. In certain sections the sonorous, weighty and deliberately strident organ writing is juxtaposed alongside orchestral textures that are extremely graceful and poetic, almost like a rough country giant trying to attract the attentions of a refined princess. At other moments, the organ imposes itself upon the orchestra, only to come together with it at other times, before proceeding to turn everything upside down once again.