Customer Reviews

Saint-Saëns: Les 5 Symphonies

5 star:		(10)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

The word "symphony" comes with a lot of baggage, biases, and expectations. For many, a symphony must follow in the grand tradition of struggle, doubt, and triumph (or doom) that Beethoven instigated, and Mahler propelled into the 20th century. Yet a lighter, though no less important definition of the symphony often gets lost in the process, an elegant, graceful tradition reaching back to Boccherini and Haydn, to say nothing of Mozart. Because of this, the lighter symphonists of the 19th century, great figures like Saint-Saens, Bruch, Glazunov, Kalinnikov, etc., are often dismissed or disparaged. There is very little struggle here, and even less philosophy; they are simply charming works of masterful orchestration and breathtaking melodies. Saint-Saens Five Symphonies are an excellent case in point: each one is vital to understanding the composer's style and development, and each is well-worth getting to know and enjoy over the years.

His first effort, the Symphony in A Major, written as a teenager, is delightful; it is a perfect twin to Bizet's youthful symphony; indeed, you can almost imagine them writing their respective symphonies to complete the same homework assignment. The first movement is wonderful--like one of Mozart's symphony-overtures (No.32, for example). Yet what a leap in maturity we find in the actual Symphony No.1, which is charming, sophisticated, and surprisingly tuneful. If you don't know this piece, and have zero expectations for an unknown Saint-Saens symphony, this piece can bowl you over. It's truly evergreen, and never wears out its welcome.

The following three symphonies, including the very well-known "Organ" symphony are even more mature. Besides the Third Symphony, my favorite is the surprisingly powerful Symphony in F Major, subtitled "Urbs Roma." Saint-Saens withdrew this piece, his true Third Symphony, which is an incredible shame. No symphony without a number will ever really enter orchestral circulation. And what a pity: the first movement surges with Schumanesque power, and the scherzo is phenomenal--what a find! A beautiful slow movement and quicksilver finale rounds out a symphony that I've listened to over and over, and am consistently astonished by. The Second Symphony is his most assured (next to the Third), and is impeccable. Beautiful orchestration, themes, and construction. It's a bit less personal and reserved than the "Urbs Roma" symphony, channeling something of the classical demeanor of his Cello Concerto No.1. The first movement is dark and dramatic (though not in a very brooding way), and is followed by a gentle, almost imperceptible slow movement (again, like the slow movement of the Cello Concerto). A tempestuous scherzo follows, which is enveloped by a romping, cheerful finale with a great tune.

Since it's pointless to gush over the merits of his greatest symphony, I'll stop here. Do get to know these great symphonies of a largely forgotten symphonic master, albeit in the gentler, more lyrical tradition. These works make a great complement to Bruch's Three Symphonies, or Kalinnikov's First and Second, not to mention Bizet's popular work.

A final note: Martinon's conducting is superb, balanced, and heart-warming. He believes in this music and inhabits every bar. He's a wonderful conductor, surprising me here no less than in his great Prokofiev cycle for Vox.

I wandered over here to this page to see what was up with this wonderful EMI set. I never got around to replacing my LPs. Man, some of the most backhanded compliments ever paid to a major composer!

I disagree. The more I've delved into the music of Camille Saint-Saens the more enjoyment I've gotten from it. Saint-Saens is one of those odd composers--another that immediately comes to mind is Felix Mendelssohn--whose music instantly grabs you, then, if you don't stick with it, the stuff starts sounding lightweight and glib. This means that you're not really penetrating that gleeming surface. Listen deeper and there's stunning craftsmanship holding it all together, craftsmanship that's not trying to draw attention to itself. You may never find Beethoven beneath the stylish suits these two composer's usually wore, but you just might find the shade of Mozart here and there. That's not so bad.

Symphony Three here was a standard for years but not so much any more (French composers of the 19th Century, Berlioz barely excepted, just aren't doing well these days). It's a beautiful and dramatic work, an clear-cut masterpiece, but a tough masterpiece since balancing the orchestra and organ are near impossible tasks for modern engineers (without just faking it and merging two separate recordings). This performance has always been a top choice and it seems far warmer and more "French" than the highly praised Munch, which seems incredible to me as I write this. The Munch is probably better played. By the way, the memorable "big tune" used in the finale was adapted for the movie "Babe." It's kind of a French take on the "Ode to Joy" or the finale of the Brahms 1st.

Of the earlier symphonies, #2 is a genuine standout, very much Saint-Saens and ear catching. The other works vary in quality but have their merits. They're all early works but worth some attention; Saint-Saens always wrote appealing music. For the money this set is worth it for the superb 3 and the best (and one of only a few) #2 recorded.

It is so very good to have these Saint Saens' Symphonies back in my collection. I owned these recordings on vinyl years ago and I'm just now getting around to replacing them on CD. I had forgotten how lovely and appealing these works are. Yes, I do find listening to Saint Saens' Symphonies a wonderful musical experience although I do know it's not considered to be too musically "cool" to enjoy the Saint Saens' Symphonies, I really DON'T CARE! This two disc set (each disc running well over 70 minutes) of the Saint Saens' Symphonies is filled with some lovely late romantic charmers--Saint Saens' complete 5 symphonies. They are works that have loads of beautiful melodies and harmonies along with some rather memorable rhythms. They are indeed so very nice to sit down, relax and listen to offering some much needed repose to my soul. .

To me, the 2nd symphony should really be a musical "favorite" in the music halls. That symphony is, to me, so very "French sounding," because, to my ears, it sort of shimmers in a most delightful and lush way reflecting why Saint Saens can be such an enjoyable listening experience. Jean Martinon and the National Orchestra de l'ORTF play, as I remembered, all of these works most splendidly. No, these symphonies ain't Mahler and no they don't require deep serious "brain-cramp" inducing contemplation; however, these symphonies by Camille Saint Saens are a real listening pleasure being so very easy to mentally grasp that I just allowed myself to be swept away in the sheer romantic sounds of the works. I'm so very glad that I finally restored them to my recorded collection.

The most famous of Saint Saens' Symphonies is, of course, the "Organ" Symphony (the third) and it is indeed very exciting with the pipe organ at times full throttle up against a full orchestra at full throttle too

EMI sound engineers have done a great job of capturing the sound of these rather large orchestra works (Symphonies 1-3 plus two un-numbered symphonic works--Symphony in F major "Urbs Roma" and the Symphony in A major.) on disc and most impressively, they did a great job of recording the "Organ" symphony which in other recordings that I've heard, turns out kind of mushy sounding---in this recording it is wonderfully clear and full with a good balance between the organ and the orchestra capturing the extremes in volumes wonderfully including those great "pedal tones" from the organ. The sound is far richer on CD than I remember it being on vinyl. The sound on these CDs certainly belie their age. (The Symphonies were recorded in the mid 1970s)

Of the unnumbered symphonies, I really like the one in A major that was written when Camille was fifteen (15) years old. One hears a lot of Beethoven's influnce in that symphony.

If you enjoy late romantic symphonic works, you really can't go wrong by adding these lush and mentally accessible symphonies to your collection that are performed wonderfully by Martinon and his forces because they truly find a rather "looked down upon" composer at his very compositional peak plus his symphonies are most enjoyable to hear. .

These symphonies are not masterpieces, but are interesting and they deserve to be heard; and this is the only disc that has them all. The "Complete Symphonies Import" CD priced at $36.49 appears to be the exact same recording. The sound is excellent, with a wide dynamic range similar to the Mercury records of the '60s. I really prefer not to have a "blockbuster" recording of the 3rd Symphony, which can be a little too much in the finale.

This is a compilation of Camille Saint-Saens' five symphonies, mostly composed as a juvenile (the A Major at 15, and the No 1 at 18), and as a young man (the Urbs Roma at 22, and the No 2 at 24), and his most popular work in the genre, the third symphony, the 'organ' symphony, 27 years later (1886), at the age of 51.

In this two-CD set, you really get a feel for the progress of a giant in French orchestral composition, from imitating classical composers, gradually maturing, finally discovering his unique sound. Every step in his journey is good music.

Jean Martinon, with the Orchestre national de l'ORTF (the French national radio at the time - ca 1970s), provides a breezy interpretation, fresh and colourful, and much fun. Tne recording is immediate and clear.

My only quibble is that the Third Symphony is divided into only two tracks, the actual two movements as composed, not into the four sections customarily separated on CD recordings of this work. So, for those listeners who wish to repeat the dramatic entry of the organ (Maestoso), they must 'back-track' to the 'Allegro moderato' introduction of the second movement. A really minor reservation considering the high quality of the orchestra, its conductor, and the sound quality.

The recordings are up-to-par, and while I don't think anyone can beat Eugene Ormandy on recording the "Organ" Symphony of Saint-Saens, this set is valuable because Saint-Saens was a master at form and at combining the German style of Wagner and Liszt with French delicacy. The set is definitely worth your money.

Apart from the ubiquitous third, the symphonies of Saint-Saëns are surprisingly rarely played. Now, I am not going to deny that the third is the real, indisputable masterpiece here - and it receives a very fine reading very much able to compete with the best in the catalogue. But then I suspect that few people will purchase this set primarily for the third.

Saint-Saëns wrote five symphonies in all, but only three of them are numbered. The two unnumbered ones are early works and are frankly not on the same level of skill and imagination (actually, the Urbs Roma was written after the first numbered symphony but withdrawn - and while delightful, I don't think it stands up even to no. 1). The unnumbered early A major is a conservatively classical work with some good ideas and skilful handling of the material; it is a light and airy work that never really takes flight, despite the excellent advocacy of Martinon - the material is simply not strong enough for that. Still, it is sure to please on the occasional hearing, and I admit to having returned to it a couple of times.

The Urbs Roma was written when Saint-Saëns was 21, and is a sunny untroubled work of no mean accomplishment (exactly why it got that name is a little unclear), starting out with a bold, imposing Largo, and there are some fine instrumental touches in the Poco Allegretto. But no one will manage to convince me that this is a particularly memorable work; yet it is worth hearing at least once, and this recording thus remains an important document (as far as I know the only alternative is Kantorow on BIS - I haven't heard that one and cannot compare).

The first numbered symphony is a fine and memorable work, however, with an irresistibly lilting slow movement and an imposing finale - which requires among other things four harps, something which might contribute to its extreme rarity in concert programs (assuming that people actually know it, which I doubt); this work can hold its own at least against, say, the early Mendelssohn symphonies, and I can find absolutely nothing to complain about in Martinon's beautifully shaped interpretation (but then I have again not heard any alternative performances).

The second symphony is a classically influenced work, where traces of Mozart and Mendelssohn are clearly audible. Again, this is a truly splendid work (and at least it is a little more well-known than its predecessor). The orchestration is rather sparse, but the instruments are used for magnificent effect, and in Martinon's hand the orchestra is really made to sing - beautiful details and a firm grasp of the long lines.

The recording is a little cavernous, but this is a truly excellent that no one should afford to miss.

EMI (and now Brilliant) should be praised for making these recordings available at such good prices. This fills a significant hole in the repertoire, making available four rarely heard and sadly neglected symphonies from a French composer who deserves to be honoured for a greater legacy than the (musical parody) Carnival of the Animals. Thankfully, Symphony No.3 is now core repertoire giving plenty of competitive quality. This is not true of the first four symphonies, so this is highly recommendable despite the low grade sound and shoddy engineering.

The Music: 4/5
While Saint-Saen's symphonies are of a consistently high quality, there are times when a feeling of mellifluousness crops up. This is particularly true of his first (unnumbered) symphony in A. This work is highly reminiscent of Mozart and Schubert and doesn't really present Saint-Saens at his truly inspired.

Fortunately, Symphony No.1 Eb is an exemplary work. It is generally upbeat from start to finish and its finale rarely fails to uplift. This should, by rights, share a place with the 3rd Symphony despite the fact that it doesn't have the same sense of struggle. The 2nd Symphony puts one in mind of Haydn for its structural economy and its thematic sweetness. Otherwise, parallels with both Mendelssohn and (Saint-Saen's contemporary) Bruch are noticeable. These are works which should not be missed.

Naturally, the 3rd Symphony is a known quantity.

Performance: 5/5
The Orchestra National de l'ORTF and Jean Martinon obviously live and breath this music - there is an incisive passion and flare to the playing. At the same time, the orchestral sound is earthy and balances itself well - does anyone else hear shades of the Philharmonia from the 1950s? What should become apparent, here, is a consistently high quality of playing - all we could have asked for, perhaps more besides, despite this orchestra not being one of the world's best. Clearly, to expect playing of the standard of the Wiener or Berliner Philharmoniker would be unfair on the qualities of a different orchestra demonstrated on this record.

At times, more drive, punch or dynamic may be asked for but these are very minor quibbles and rarely obstruct the natural musical quality vested in these scores.

Sound: 2/5
This does get in the way. The orchestra, apparently full bodied, generally comes across as thin and undernourished. The sound, overall, is dry and at times, overly reverberant and quite glassy. The stereo image misses the mark. The orchestra is distant and fogged while the engineering is inconsistent and, often, unpleasant. The work in this area was shoddy. There is little natural warmth to the sound whilst it feels like one may be listening from the very rear of a grand arena. None of this is ideal and it has robbed the orchestra and the music of much of the freshness which a performance of neglected works often has. Bad form EMI a proper reengineering is called for!

Interpretation: 4/5
Here, it is difficult to be conclusive given the lack of competition and other interpretations. All the music is conceived well by the conductor (Jean Martinon) who brings the symphonies off consistently logically and without unnecessary exaggeration or self-consciousness. As has been said, at times greater drive and propulsion could be generated with a greater control of dynamic and balance but overall the conductor does his job effectively and with colour enough to satisfy. The reading of the 3rd is workmanlike and by no means definitive. Barenboim, Levine and Karajan have interpreted this better (among many others). Don't buy this for the 3rd; use the set to complement better recordings of it.

Overall, the sound was a devastating disappointment. The performances are all we could hope for even if they lack the degree of greatness. The quality of Saint-Saens music can't be praised too highly. Overall, this is a highly recommendable set at an attractive price. Because of the lack of another integral set, don't hesitate to add this to a collection.

The great popular success of his 3rd Symphony "with organ" has apparently overshadow Saint Saens' earlier symphonic efforts, which are seldom played or recorded - and it is really a pity. Granted, they are youthful works - very youthful even, in the case of the unnumbered A-major Symphony from 1850, composed when Saint Saens was 15. With the first numbered, opus 2, he was 18, the second unnumbered one, "Urbs Roma" (City of Rome), 22, and # 2 op 55, 24 (1859).

Granted, all these works betray the influence of Beethoven, Mendelssohn (the finale of the A major is striking) and Schumann (inasmuch as Schumann betrays in his Symphonies the influence of Beethoven - but who didn't in those years?). And so what? If you enjoy the Symphonies of Beethoven, Schumann and Mendelssohn, and even more if you are an explorer of the second or third-tier Romantic composers like, say, Raff or Berwald, if you enjoy the youthful Symphony of Bizet or those of Gounod, Saint-Saens' will offer many rewards. His symphonies are wonderfully crafted, they offer moments of uplifting heroism, of intense drama, of lithe and graceful dance spirit, of moving pathos that never turns into the sentimental or cloying.

Do my ears deceive me in hearing a Tchaikovsky likeness in the famous 3rd Symphony with organ, composed 27 years after the previous one, in 1881 (Saint Saens was 55 then)? I'm not talking about imitation or derivation. Styles evolve along parallel and sometimes joining lines. I don't know why the organ is singled out in the Symphony. It is certainly not a "Symphony concertante FOR organ and orchestra", the organ is treated as an orchestral instrument (as the four-hand piano) and comes out soloistically only very rarely. Anyway, what a fine composition (if you like Tchaikovsky, that is).

I won't attempt a judgment on the interpretive merits of these recordings, as they are, for the early Symphonies, my first acquaintance with them. I have the feeling that the finale of the A-major could have been swifter and lighter - more Mendelssohnian, that is. As for the "Organ" Symphony, it is not a composition for which I have the score and have done comparative listening. But suffice to say that these recordings have been recognized classics since their first LP release (they were recorded between 1972 and 75), that Martinon was a fine conductor who knew how to elicit both punch and grace from an orchestra. And anyway, sometimes it is just good to enjoy the music, all considerations of interpretation aside. For the record, Bernard Gavoty, the organ player, was in those days, under the name of Clarendon, one of the most famous music critics of the French press, writing for the daily Le Figaro.

4 1/2

Saint-Saëns' sublimely constructed set of underrated romantic epics are all marvelously impressive, and Martinon's working sounds thorough enough to ensure ears wouldn't need to wander to other sources.