Unlike the eponymous charioteer’s skills, Saint-Saëns technical skills were at their peak in his tone poem Phaeton: its galloping steeds racing to a catastrophic demise before a final lament for youthful hubris.
Poulenc’s Concerto for Organ consists of seven sections in a form of a fantasia. Whilst it is generally serious in character, it still contains fleeting moments of the irreverent rogue of his youth and his gift for lyricism. A lyrical sensibility defines Lili Boulanger’s bright and festive picture of a carefree spring morning with its arabesque-like playfulness and delicate, highly transparent instrumentation. Saint-Saëns said that he had “given everything I was able to give” to his Third Symphony and it is true that with its virtuosic piano passages, brilliant orchestral writing and the audacious use of organ. It reveals a genuine flair for sumptuous orchestral colour, suave and unforgettable melody and brilliant craftsmanship – the zenith of his symphonic output. There is simply nothing else quite like it.
