Customer Reviews

Saint-Saëns: Symphony No.3/Debussy: La Mer/Ibert: Escales

5 star:		(20)
4 star:		(2)
3 star:		(4)
2 star:		(0)
1 star:		(0)

 

 

During the tenure of Charles Munch, the Boston Symphony Orchestra became known for its mastery of the French repertoire. This recording contains three pieces from different French composers and demonstrates the orchestra's expertise of French classical music. The pieces are somewhat broad in scope. The major work is Saint-Sean's Symphony #3. The work is grand in scale and is in capable hands under Munch. One of the treats of this recording is the symphony's fourth movement where the magnificent organ of Boston's Symphony Hall is used. The recording goes from Saint Sean's large spectacle piece to Debussy's impressionistic work "La Mer." Munch has excellent control over the orchestra capturing the world's flowing gentle tones and powerful moments as well. The album concludes with a work that would have been contemporary at the time of the recording, Ibert's "Escales," again, palyed beautifully by the BSO under the direction of Munch.

The liner notes mention that this particular recording was revolutionary in its day. The challenge of recording the works of this collection, particularly the Saint Seans' work is daunting at best. No doubt modern recordings of these works would be more advanced than this recording, even with its digital re-mastering. However, it is safe to say that today most orchestras would not even come close to Munch's wonderful interpretations of these works, especially the Saint Seans Symphony #3 and this alone can disguise any flaws in the recording of these pieces.

This recording was a remarkable achievement when it was released in the 1950's, and it is no less amazing today. The engineers had everything going for them: the marvelous Symphony Hall acoustics in Boston; the world's foremost conductor of French music at the time, Charles Munch; and the BSO in their glory days. The balance found between organ and orchestra is ideal and while the most obvious place to notice this is in the final movement, you can also hear the organ details extraordinarily well in the first and second movements. The whole symphony, from first to last, moves along as if it has a wonderful purpose. It is difficult for me to find any fault in this performance or recording. I'm not absolutely convinced it is the finest in the catalogue, as I really love Paray's account with the Detroit Symphony on Mercury from the same time period which can boast even more powerful organ sound and a bit more bite in final movement. However, the Detroit orchestra cannot match the BSO for beauty of sound and refinement. The Debussy and Ibert couplings are also superbly performed if not as gloriously recorded. Again, Munch's interpretations of these French gems are unbeatable.

For many lovers of classical music one of the first cherished LPs in the library was the wonder flourished in this 1950s recording of Saint-Saens' Symphony No. 3 in C minor, forever known now as the Organ Symphony, as conducted by Charles Munch and the Boston Symphony Orchestra with Berj Zamkochian as organ soloist. Now with the presence of this SACD Hybrid release the position of this recording remains unchallenged as the one to own. Munch understood the architecture of the symphony and was able to make the most of the organ parts as woven through the orchestral fabric, allowing the mighty climax to have a reason for happening. It is a towering performance of a work that is used more often than any other to unveil new organs in new orchestral halls.

But Munch and his then own Boston Symphony were the top interpreters of the French repertoire and gratefully on this CD we also have the Debussy 'La Mer' and the lighter but effective 'Escales (Ports of Call) by Jacques Ibert. The performances exude the impressionistic perfume Munch knew so well and while there may be weightier and mightier recordings of 'La Mer' available today, Munch's approach is still a valid one. But the reason for adding this CD to your library remains the inimitable Saint-Saens. It is spectacular! Grady Harp, June 06

This particular performance of Saint Saens #3 is my very favorite.... and I've listened to many versions (including a well acclaimed version by Paul Paray & Detroit Syphony in about the same time period). Munch's performance is bold, interpretive, and introspective, movements done at wonderful tempi. Great balance between organ and orchestra; subsonics of the organ are room shaking and you can even hear the notes! (There another version conducted by Maurice Durufle on a 60's Angel label, but if feel it is too distantly miked - everything's a shmear). On the Munch performance I first felt the trumpets were a bit too prominent but now feel it is the standard for all performances. The Munch performance I feel is sonically very close if not equal to to current versions, which is phenominal based on the time period it was recorded. Current versions are blase in comparison - merely typed or clerked by the performers. Again, I've listened to many versions. The Munch performance both moves and excites. Guess you can say I like it :)

One learns why a CD such as this is listed as "an essential." The quality of the recording is so well balanced.

The Saint-Saens Organ Symphony is magnificent. The organ is delicately used in all its majesty and capabilities. It swells and then withdraws behind the orchestra only to swell again above it.

Debussey's LaMer is wonderful sounds, roaring and thundering and then backing off into tranquility shimmering. I guess I'm hooked on water music, as this and Smetana's Moldau are among my favorites.

I so appreciate those who recommed this as an essential. It certainly has become that in my collection.

I am happy to second Dan Beck's strong recommendation of this classic recording and the "consummate French" sound of the Boston Symphony in it's former glory. However, I must give proper credit to the great Gino Cioffi, first chair clarinet of the orchestra at the time this recording was made. By the time Harold Wright joined the Boston Symphony in 1970, Charles Munch was already with the angels (Alas!).

I was a junior in high school and the principal oboist of the Greater Boston Youth Symphony Orchestra. The orchestra was performing in Symphony Hall on Sunday. It was Saturday afternoon the day before the concert and we rehursed in Sym. Hall all afternoon. After the rehersal was over I remained in my chair and finished a couple of reeds for the next day. Reeds in the hall performed differently than they did at home so there I was whittling away when all of a sudden in walks BSO's Organist, Berg Zamkochian. He came over to me and watched me tweeking a reed and became intrigued. My teacher was Ralph Gomberg, the BSO's principal oboist and I was sitting in his chair. Berg and I carried on a good conversation before he began warming up the Symphony Hall Organ. The program that evening was the Saint-Saëns: Symphony No.3 under Charles Munch. I heard him play all the great organ parts from my seat in the orchestra. It was just he and I in the entire hall. Wow!
I remained there that evening and heard the full concert live.
I do have an LP of the recording and rate it 5 stars.

I have no idea what the reviewer below has been smoking when he assaults this recording as having bad sound. Perhaps he is unaccostumed to older analogue vintage sound quality. Yes, records from before the digital era contain hiss but hear the detail and the sumptuousness of the sound! It is incredible. Take the Debussy La Mer for example. This is not a a performance to suit those that hear this score first and foremost as an impressionistic or modernist masterpiece. Munch is firmly romantic in his approach. The La Mer has never sounded as rich and ripe as it does here. If you want a cool account, Boulez on DG is numero uno in that regard and he couldn't be more different. There are also great La Mers from conductors as diverse as Stokowski, Haitink and Karajan, all with exceptional versions. Yet, if you really want to feel and hear the Mediterranean Sea surging and swelling through your speakers and headphones, Munch is creme de la creme. The RCA sound is outstanding, enveloping the listener. Closing my eyes, I could feel myself on a sailing boat out at sea, the surface of the water shimmering all around me and the seagulls flying in the distance. Talk about evocative. Debussy, Munch and the RCA engineers were on the same chord.

Beyond La Mer, Munch also does a supreme account of Ibert's Escales ( Port of Call ). This is not a piece I'm crazy about. It is a highly recommendable performance alongside Stokowski. Finally, let me give a few words of praise in favor of Munch's classic Organ Symphony by Saint Saens. This has stood the test through decades of competition. There are few accounts to rival it in the analogue era. The great sound is only one thing, the sheer drive and excitement of the performance is truly something. The slow movement is deeply felt even if it is not as moving as Karajan on DG. Th organ delivers in the famous finale, no doubt about it. As I wrote, there are few if any rivals in the analogue era. In the digital era, Karajan and Levine, both with the Berlin Philharmonic, come to mind most immmediately. But no matter as this classic Munch CD also has the stunning La Mer and Escales to handily overcome the competition. A classic then and still a demonstation audio disc more than 50 years on.

The Third Symphony, with the dramatic entry of the organ in the fourth movement (Maestoso/Allegro), is Saint-Saens's most popular symphonic work. It needs brilliant sound, but also great sensibility, for example in the second movement (Poco adagio). Pacing here is the key.

It is not surprising that this symphony was one of the first (in 1959) recorded in the 'Living Stereo' series by RCA Victor.

This release manages to combine excellent sound, thanks to the innovative engineers of the day, and a thoughtful, sensitive, interpretation, under the baton of Charles Munch, conducting the superb BSO, with Berj Zamkochian at the organ.

True, some of the louder passages may sound a bit woolly to modern ears, but nothing recorded since can compare with Munch's feel for this symphony. No other conductor has managed to integrate the different moods, from reflective to boastful, so expertly.

I have other recordings of this symphony, for example, the much praised Maazel interpretion, with the Pittsburgh Symphony Orchestra (Sony). The more modern recordings are sonically superior, but they lack the powerful forward thrust intended by Saint-Saens.

The symphony is coupled with two orchestral poems, Debussy's 'La Mer' (1905) and the rarely performed 'Escales' (1924) by Ibert. Both showcase the brilliance of the BSO in the mid 1950s, then one of the finest orchestras in North America.

Alsatian-born conductor Charles Munch took over the baton of the Boston Symphony in 1949 from the legendary Serge Koussevitsky and stayed on until 1962. He was fortunate enough to hold sway in Boston while RCA Victor perfected a three-channel recording technique in the '50s which came to be known and marketed as Living Stereo. BMG has an ongoing program to remaster and re-release these Living Stereo recordings on both CD and hybrid SACD with original cover art and liner notes.

This is probably the classic recording of Camille Saint-Saëns' popular Organ Symphony, though many would rightfully argue for Paul Paray's Detroit Symphony recording of similar vintage for Mercury. The symphony embodies everything that aficionados both guiltily adore and often openly besmirch about popular works steeped in Late Romanticism -- shamelessly flamboyant scoring, beautiful melodies, and tidy construction with nary a hint of heavy profundity nor arty pretension. I loved it the first time I heard it and still love it today. Little did Saint-Saëns (d. 1921) know that his symphony would help epitomize the nascent wonders of High Fidelity!

Claude Debussy (d. 1918), along with fellow Frenchman Maurice Ravel, reluctantly came to be identified with the burgeoning Impressionism movement in art. Hence, his colorful orchestral works are often performed exuding hazy, indistinct timbres as if scored in pastels. I'd characterize Munch's performance of the popular La Mer as such, especially when compared with Fritz Reiner's performance (see my review). However, one has to wonder if this "impression" isn't manifested by Munch's renown laxity toward rehearsal in favor of more spontaneity in performance; there is a certain inexactness in orchestral ensemble here. All the same, the performance is both evocative and exciting when called for.

Jacques Ibert's comparatively minor Escales is another colorful work, much lighter in feeling with its various international flavors (one critic describes it as "travel posterish"), which benefits from Munch/BSO's committed performance and RCA's recording.