Interview by Suzanne Malard (1945)


Henri Tomasi is modest. If I dared, I would speak even of him about ingenuousness. An ingenuousness that is sometimes accompanied by perfect lucidity, but leaves him stunned by dull desires or anonymous jealousies, which he can not understand because he can not. The robust equilibrium of his gifts has resisted the double contagion, perilous for the French musical genius, of the German excess as well as the facilities of Bel Canto. His creative instinct has been challenged, on the other hand, by the danger that subtle refinements make music play, made to bring light and consolation, not only to the elite, but also to the crowd.

Alternately mystical and passionate, or both together – faith in God leading to that in humanity – her Mediterranean inspiration, which hates half-tones, remembers that it is the storms that make the real sailors. (…)

“It is to Corsica, indeed, country of my ancestors, that I owe a notable part and my inspiration and its orchestral colorations.That is how after Cyrnos, I wrote another symphonic poem, Vocero, and that I composed a stage music for Colomba at the Odeon “.

– In the meantime, there was for you the revelation of the radio … And now, in Monte Carlo?

“We are determined, Emmanuel Bondeville and I, to reveal new works, including those, and I quote their name without precedence, Jacques Ibert, Honegger, Stravinsky, Prokofiev, Florent Schmitt, Tony Aubin, Durufle Olivier Messiaen: I believe in the possibility that Monaco offers to the creation of a great music center “.