Search - Camille Saint-Saens, Jean Martinon, ORTF National Orchestra :: Saint-Saëns: Les 5 Symphonies

The Other Four Symphonies

Micromegas | Ada, OK | 01/17/2007

(5 out of 5 stars)

"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."

Oh jeez!

Wayne A. | Belfast, Northern Ireland | 08/26/2006

(5 out of 5 stars)

"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."

Saint-Saens neglected synphonies

AlanJ | Illinois | 10/14/2005

(4 out of 5 stars)

"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."