L’Orgue Soliste: Music for Organ & Orchestra, Boss

O repertório para órgão é mais amplo do que se costuma levar em consideração – e, nesse universo, concertos para o instrumento e orquestra ainda esperam maior reconhecimento. Isso fica claro com o lançamento do disco de Tommaso Mazzoletti, jovem organista italiano, aluno do lendário Massimo Nosetti em Turim. Ele é hoje organista da Igreja de São Paulo, em Gland, na Suíça, onde gravou o álbum ao lado da Helvetica Orchestra e do maestro Eugène Carmona. O repertório parece ter sido escolhido para mostrar as múltiplas possibilidades que nascem da combinação entre o órgão e uma orquestra. O Concerto para órgão, cordas, trompas e tímpanos de Marco Bossi, admirado por Giuseppe Verdi, explora com maestria o diálogo timbrístico entre os instrumentos, dando ao órgão protagonismo como solista. Já Hymne, de Joseph Jongen, tem caráter quase impressionista, o que faz com que órgão e orquestra se misturem de maneira poética. Peça mais conhecida do repertório do disco, o Concerto para órgão, cordas e tímpanos de Francis Poulenc trabalha com contrastes entre o som do instrumento, muitas vezes majestoso, e as texturas orquestrais. Um disco fascinante pelas sonoridades que revela, peça a peça.


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.

- This new recording presents three major works for organ and orchestra by Bossi, Jongen and Poulenc.