An orchestral debut, one of numerous song cycles and finally a short yet massive vocalinstrumental work. Years spanning their dates of inception: twelve. Significantly greater span - between the dates of their premieres, interspersed by greater and lesser historical events, most notably the First World War and both Russian revolutions, along with a series of personal trials and reappraisals of the artist's spirituality, as well as bad luck and unfavourable circumstances. What - apart from the author - links these works? Seemingly very little, yet certain common threads can be found.

Francis Poulenc, an accomplished pianist but little known in organ circles, published two works for organ: Litanies à la Vierge noire, FP 82 (1936), in which the organ accompanies a women’s choir, and the Concerto in G minor, FP 93 (1935–1938), with string orchestra and timpani. The latter is probably his most frequently performed and recorded concertante work, along with Concerto in D minor, FP 61 (1932), for two pianos and orchestra, and Concert champêtre, FP 49 (1927–1928), for harpsichord and orchestra. Besides Joseph Jongen’s Symphonie concertante for grand organ and orchestra, op. 81 (1926), it is the most popular 20th-century concerto among organists and audiences alike.

The composer, virtuoso pianist, organist, critic and essayist Camille Saint-Saëns lived long enough to become a unique witness to an era of revolutionary changes in music. Recognised as a child prodigy by Gioacchino Rossini and Hector Berlioz, in his late years the author of Danse macabre had a chance to become acquainted with the early works of New Music. Atonality did not fire him with enthusiasm, which comes as no surprise, considering the fact that even Claude Debussy’s musical poetics proved quite alien to his tastes (Debussy felt the same about Saint-Saëns’ style).