Poulenc�s Concerto is primarily for strings (timpani are used sparingly throughout). It was commissioned by Princess Edmond de Polignac for her small private instrument and dedicated to her �with the highest regard�. (...) In her letter to Poulenc, Boulanger urged the musician to familiarise himself with the �resources [and] limitations� of the Princess�s instrument. This means that this Concerto � written with difficulty over a period of some four years (1934�1938) � was initially conceived as an intimate, Neo-Baroque work (its opening is a strong allusion to Johann Sebastian Bach�s Fantasy BWV 542, also in G minor), with a succession of fast and slow sections of contrasting timbres, in the manner of German Baroque toccatas in the Italian style, such as Bach�s keyboard toccatas BWV 913�916. The form, however, is fairly well defined, with a symmetrical structure around the central �Tempo allegro�. (...) Joseph Jongen�s Symphonie concertante Op. 81, has become the virtuoso concerto for organists, especially in the United States. (...) The day after the performance, Eug�ne Ysa�e wrote to his composer friend: �I want to tell you how much my old musician and Walloon heart was delighted, moved, conquered by your new symphony . . . a masterpiece, a monument that does honour to the whole country and to Wallonia in particular . . . It is appealing, varied, very personal, rich in colours, full of unusual harmonies . . . It is new and yet distinguished, without violent clashes (I noticed a bit of bitonality that entertained me a lot). The form is clear, the plan well drawn and it is always good and healthy music that speaks, expresses, sings, constantly interests, arouses enthusiasm . . . I thank you from the bottom of my heart for the strong emotions I have experienced.� Renaud Machart, Translated by Krzysztof Komarnicki