Customer Reviews

Saint-Saëns: The Complete Etudes

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Saint-Saens is one of those underrated composers who is slighted mostly because his muse wasn't tragic or dramatic. Most of what he wrote is well crafted and enjoyable for the sheer pleasure of being beautiful music.

This disc is no exception. Saint Saens was a formidable pianist, so this music isn't easy, but Lane sails through it with aplomb and a sweet tone. There are many gems here, including a wonderful fugue for the left hand alone.

Put this disc on and sit back. Maybe you won't be transported to a different, rapturous world but I guarantee you'll be more relaxed and have a smile on your face when it's done.

While the entire album is enlightenly beautiful - I, as a pianist, had no idea Saint-Saens had written such a n array of etudes (studies to improve certain aspects of playing).
Of the 18 etudes on the album, the most striking and unbelievable are the last 6 from Opus 135. They are all written for the left hand alone, and were dedicated to his friend Caroline de Serres, whose right hand had been immobilized.
My suspended disbelief comes with the hearing of these last 6 etudes. To hear them, it would seem as if both hand were playing. There is, however, an element of suspision.
On the listed credits, it states that the Steinway piano was "prepared" by Ulrich GerhartZ.
I would like to know how the piano was "prepared.
These 6 etudes all sound as if they were being played by a delicate child's hand, rather than those of master pianist Piers Lane. The notes are so soft and delicate, it is difficult to believe that the piano "preparation" did not have a great deal to do with the delicate sound.
Nevertheless. I would recommend any pianist or music lover get this album. It also helps if you have the musical scores in front of you while listening.

Saint-Saens piano etudes are certainly variegated, ranging from the delightfully and poetically evocative to blazingly virtuosic finger twisters. In other words, there are many very fine, charming and appealing miniatures on this disc, which will definitely provide plenty of enjoyment to the listener, even if the overall musical style is a little anonymous. Saint-Saens surely never had a shortage of good ideas, but he sometimes had a tendency to "streamline" them a little too much - perhaps an example of flawless compositional skill curbing the imagination slightly too much (the left-hand etudes op.135 are almost surprisingly rewarding, by the way).

Piers Lane offers performances that certainly do not overdo the virtuosic elements; they are stylish, poetically rich and silvery (surely many of the pieces come across sounding far easier than they in fact are) even if some of the works may perhaps be a little understated. Best are the op.111 works (listen out for the intermittent foretastes of Debussy here), but Lane's warmly sympathetic playing presents all the works here in a very positive light. A fine disc, then, if not exactly one to change the world. The sound quality is as good as one would predict given the source; recommended.

It's unfortunate that France's finest composer is still being stonewalled. His command of the piano is without question. This album of etudes is proof positive of his skill. Anyone who thinks these etudes are basic,basic studies will be surprised at the strength and stamina required to complete just one. The really interesting thing about the disk is the composer's consummate love for Bach and fugue .