Camille SaintSaens Joachim Trio John Lenehan - SaintSans Piano Trios Nos 1 2 (9 tracks) +Album Reviews

TWO SAINT-SAENS TRIOS TOO GOOD TO PASS UP

Melvyn M. Sobel | Freeport (Long Island), New York | 07/06/2000

(5 out of 5 stars)

"Separated by a thirty year stretch, the two Saint-Saens piano trios, coupled here together by Naxos for the first time on CD (to my knowledge), are beautiful, enduring, melodic works in the tradition of Schumann and Mendelssohn. It's incomprehensively mystifying to me that these trios have never entered "the standard repertoire." They certainly should have before this. Well, so it goes. Better late than never. Lucky us!

The Op. 18, written in 1863, is an immediately and thoroughly attractive work, every movement memorable. Particularly haunting is the lyrical Andante. The Op. 92, written in 1892, is every bit as moving and irresistable as its younger sister--- but, perhaps, a touch wiser and more ruminative; yet, again, each movement is a gem (and Camille, that sly French devil, has given us five, rather than the usual four, to treasure). As with the Op. 18, special mention should be made of the enchanting Andante.

The Joachim Trio, playing splendidly, receive a fine realistic and warm sound.

[Running time: 65:28]"

Two of Saint-Säens's best works

mythologue | 09/08/2002

(5 out of 5 stars)

"Saint-Saëns's two piano trios both rank among his best works. The four-movement first is more playful, with many syncopated rhythms and intricate melodies; the five-movement second, published close to thirty years later, is even better. Saint-Saëns delayed its completion for a while, and one can understand why when listening to it - it's obvious that a lot of work went into its composition. Although written for only three instruments, it rivals in power and majesty some of his most interesting large-scale pieces. Each movement is excellent enough when isolated from the others, but the cumulative effect of the whole is what makes this a masterwork. The piano writing is brilliant throughout, and this recording has a perfect sound balance, which is especially important in chamber works. The Naxos price is inviting, but it doesn't even matter: this music is priceless."

Good version

G. Metcalf | United States | 09/28/2005

(5 out of 5 stars)

"These two trios are well played on this disc. As usual with Saint-Saens the music is unfailingly tunefull and pleasant. The writing for the piano is particularly good -- perhaps because the composer was a pianist of some renown. I thought the sound quality was good but occasionally somewhat distant or veiled but certainly acceptable. Of course the naxos price is just right."

Fine performances of some delightful music

G.D. | Norway | 03/20/2010

(4 out of 5 stars)

"Saint-Saens's delightful piano trios deserve a place in every collection of romantic chamber music; wonderfully charming, inventive and colorful works even if they are (arguably) slightly faceless. The first piano trio dates from 1863 and is indebted to Schumann and Mendelssohn but with a very French, elegant quality to it. The slow movement is atmospheric and poignant, gripping even, and the fleet scherzo (perhaps the strongest movement overall) thoroughly engaging. It receives splendid advocacy from the Joachim Trio here, although the scherzo could arguably have been even lighter on its feet.

The second trio is more substantial and dramatic but also less immediately charming. It is - somewhat unusually for the time - cast in five movements and contain a welter of good ideas, even if none of them are truly striking. Again the performances are well judged and sensitive. Overall, the Florestan on Hyperion plays with more warmth, fire and confidence, but the Joachim trio is still worth hearing even before the issue of price is taken into consideration. The sound is a little grainy and boomy but not so much so as to detract from the enjoyment. Recommended."

Attractive Music, Fine Performances

M. C. Passarella | Lawrenceville, GA | 01/23/2009

(5 out of 5 stars)

"As with many of the media that Saint-Saens worked in both early and late in his career, the First Piano Trio (1863) seems to be widely favored by performers and recording producers over the Second Trio (1892). This can be said as well of the two violin sonatas and the two cello concertos. Generally speaking, the later works are not as unfailingly melodic as the earlier ones and sometimes incorporate greater technical challenges--certainly true of the Second Cello Concerto. Perhaps the Second Piano Trio doesn't involve any special technical challenges, but it is more sedate than the rhapsodic First Trio, with its buoyant, oddly Spanish-sounding first movement and poignant minor-key second movement.

Buoyancy and poignancy may be in shorter supply in the Second Trio, but it is a fine work nonetheless. Unusually cast in five movements, with two semi-fast movements that seem more apt to a divertimento or serenade than a piano trio, the piece has its own beauties: an agitated opening movement that recalls the lovely first movement of Saint-Saens' Violin Sonata No. 1 and an emotionally elusive finale in which the interplay between minor and major keys recalls Schubert. However, the extensive counterpoint points to earlier composers as modeles and suggests that toward the end of his creative life, Saint-Saens pioneered a back-to-Bach movement that would really only catch on after the First World War. Hence perhaps the five-movement structure, more reminiscent of a trio sonata by Couperin than a piano trio by Lalo or Faure.

If the spirit of Schubert haunts the last movement of the Second Trio, that of Schumann seems present in the tender slow movement, which at just over four minutes is if anything too short. And as lovely as much of the music is, the odd, suite-like arrangement seems to unbalance and dilute a work whose outer movements so effectively explore somber emotions. All things taken together, the judgment of performers is probably accurate: the Second Trio doesn't work as well as the more of-a-piece First Trio.

It is still finely entertaining, especially in a performance like that of the Joachim Trio, which is capable of bringing both beauty and ardor to Saint-Saens' varied musical expression. I've heard, and own, other performances of the First Trio (though I haven't heard the highly regarded performance by the Floresant Trio on Hyperion). But on points, I would say the Joachim turn in as fine a performance as I know.

The recorded sound may be a trifle distant but is very true and quite pleasing. At the Naxos price, this is a great way to acquire two of Saint-Saens more attractive chamber works."

Search - Camille Saint-Saens, Joachim Trio, John Lenehan :: Saint-Saëns: Piano Trios Nos. 1 & 2

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