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Most Helpful Customer Reviews
44 of 45 people found the following review helpful:
5.0 out of 5 stars
An Outstanding Set,
By
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This review is from: Saint-Saëns: The Complete Works for Piano & Orchestra (Audio CD)
I read a comment several years ago by the pianist Phillipe Entremont that he felt the Saint Saens concerto's lacked the emotional charge of the German concertos (Beethoven, Schumann etc.) I think this comment is shortsighted in that it neglects the many concertos written for the instrument between Beethoven and Saint Saens, a tradition that the Romantic Piano Series provides insight into. It is arguable that Saint Saens (a true Renaissance man) was the most accomplished composer-performer of his day and his piano concertos represent a high point. Perhaps the awful truth is that these concertos are fun to listen to. They are virtuoso pieces that sparkle and delight. Perhaps not as profound as some concertos but works that should be heard much more frequently in the concert hall.I have had the Roget set for several years and have the Cortot recording of the Fourth concerto, and agree without reservation that Stephan Hough plays remarkably well. He captures the brilliance of these concertos remarkably well. The only drawback of the set is that the Third concerto was recorded at a different venue and has a dryer sound. The added bonus of this set are the shorter pieces Saint Saens wrote for piano and orchestra that were included on this set. For me, this is the set of these concertos to have, and I hope listeners unfamiliar with them will buy it. They do not disappoint.
30 of 30 people found the following review helpful:
5.0 out of 5 stars
Brilliantissimo,
By Mireille Wastwater (England) - See all my reviews
This review is from: Saint-Saëns: The Complete Works for Piano & Orchestra (Audio CD)
The complete Saint-Saens concerti have been recorded few times. Off the top of my head the only ones I can think of are Jean Collard and Pascal Roge. Stephen Hough's set blows these sets out of sight in terms of quality and quantity. The only drawback is the price, but with these performances, you'll get your money's worth. Take the popular 2nd concerto for example. Have you ever heard the 3rd movement taken as such a pace? Listen to the massive chords at the beginning of the first movement and how small the orchestra sound in comparison when they enter! I expect most people will be wary of paying up when all they want is the 2nd concerto. Worry not, for there are delights to be found in the other works. The first movement of the first concerto, for instance, is delightful. The 'Africa' fantasy is another gem. This joins the other concerto performances of Hough as the top recommendation in their respective repertoire. I eagerly await his recordings of the Rachmaninov Concerti. There is a David Helfgott CD wrongly titled 'Brilliantissimo'. I assign this title correctly to this set of CDs.
36 of 37 people found the following review helpful:
5.0 out of 5 stars
Renaissance Man,
By Brett A. Kniess (Madison, WI) - See all my reviews
This review is from: Saint-Saëns: The Complete Works for Piano & Orchestra (Audio CD)
Saint-Saens was a Renaissance man: botany, astronomy, archeology, mathematics, natural history, and philosophy were subjects he participated in throughout his life. He wrote articles, read papers at scientific societies, contributed notes to learned journals on the eclipse of the sun, and published a volume of poetry. Saint-Saens was also a musical child prodigy; began piano lessons at age 2 ½, at 3 wrote his first composition, and memorized a recital of Mozart and Beethoven concertos, as well as music by Handel, Hummel, and Bach. This CD of piano/orchestral works is a showcase of Saint-Saens' brilliant musical mind, one which was considered old-fashioned by modern composers of the time, and fused Classicism and Romanticism together, a style today's society is happy to have, since Saint-Saens could have easily been successful in another career.
The four character pieces for piano and orchestra are all rather interesting. Wedding Cake (6')is a waltz-caprice for piano and strings alone; a dainty showpiece in a whimsical setting, sparring gentility vs. extroverted. The Allegro Appassionato (5') is also a showpiece with lightning-quick orchestral and piano work, with a lush, contrasted middle. Rhapsodie d'Auvergne (8') uses a folk-based melody Saint-Saens heard a French washer-woman singing. Fresh, captivating melody and orchestration, the music is emotionally moving, along with come snappier folk-like ideas in contrast. The last, Africa (9'), is taken from Saint-Saens' many travels abroad: Algeria, Canary Islands, Africa, Russia, South America, USA, Scandinavia, and Indonesia; Saint-Saens in fact studied the folk music of North Africa. The work, Africa, is a sort of fantasy on many tunes from North Africa, another neat orchestral/piano showpiece. The five piano concertos show a growth in composition from Saint-Saens over a period of time. The first (26')is inspired by the Fontainebleau forest; there is fresh vitality, youthful optimism, as well as occasional Spanish harmonic inflections, a trend Saint-Saens will continue more in his lifetime. The second concerto (21'), with its gruff, minor opening, is a Romantic counterpart to his first; long sweeping lines, a fanciful scherzo, and dramatic sweep throughout show a maturing Saint-Saens. Concerto No. 3 (25')shows Saint-Saens' penchant for melody; while the opening is a bit wandering and ponderous, there is a catchy, heroic theme; an emotional second mvt., and an infectious finale theme, a heavy barcarolle/dance type feel, for an emotional and fun concerto. The fourth concerto (24'), only in two movements, begins with a sneaky theme in a sort of theme and variation form, along with a chorale reminiscent of his "Organ" Symphony, but ending with a lively scherzo, a simple melody, and a dashing finale, showing simplicity and classicism in his mature style. The last concerto (27'), often called "Egyptian", is unabashedly Romantic, including some bold and striking Spanish rhythms, some unusual modes and syncopations, some orientalism (weird voicings and multi-cultural devices that are unusually forward-looking for Saint-Saens), and an optimistic finale. The evolution of time shows Saint-Saens embracing the past, with a special hold on Romanticism, but surprises me with no lack of inventiveness in later life, not to mention a never-quelling mind for tunefulness, evident in all of these works. These are very good performances by Stephen Hough on piano and the City of Birmingham Symphony Orchestra under Sakari Oramo. The orchestra is rich and full, all voices speak clearly and play with lightness, humor, and grandeur when asked for; all in all a terrific ensemble presentation. The pianist is remarkably at home; nothing is heavy (which is rarely called for in Saint-Saens), bringing out the classicism in his music. Instead, texture and color are Saint-Saens' best Romantic attributes, and Hough brings those out, not to mention extremely clean playing. The piano is miked close, and the sound is forward and "dry", but Hough backs off when his role requires it, and the piano and orchestra work remarkably well together, playing off one another at times. The Hyperion sound is excellent and makes the disk a success, a resonant atmosphere and crisp playing are captured on this disk well. The CD's are full as well: CD1 at 79+ minutes and CD2 at 76 minutes, is a lot of music, and the extra four character pieces on top of the concertos makes this a must-have. Excellent performances with amazing sound; recommended. TT: 155.28
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