Recorded back in 1993
this now makes an SACD appearance over a decade later. The utility
of the collection can’t be denied. It collates disparate things
in generally fine performances. There’s been some re-jigging of
the programmes since their first appearance so a companion
disc which gives us the seldom performed Requiem and the hardly-seldom-performed
Third Symphony is not a direct re-run of the original.
That’s something of an academic point now,
except to those who may think that the vaults have revealed
previously unreleased morsels (they haven’t). The SACD channel
tends to magnify something of a fault of the original releases
which was a very broad sound stage. In practical terms this
matters most in the case of the Requiem I shall be reviewing
later. In the orchestral works it’s noticeable but not so problematic.
The performances
in this compilation suit the romantic and brash side of things
very adeptly. Since there’s nothing cerebral about it we need
colour and verve and that old friend, dash. Africa
might have received more sheerly scintillating performances
but this one is ebullient and treats the tumultuous scherzo,
a rhythmic tour de force, with estimable aplomb, Gwendolyn Mok
taking the honours at the keyboard. Parysatis unveils
its balletic charms with brilliant exotic sheen. Listen to Geoffrey
Simon’s cueing of the low brass in the Third Air – exciting!
The Samson and
Delilah – Grand Fantasy is heard in the arrangement by Alexandre
Luigini. It’s a typical pot-pourri, ripe and practical, and
as such was very popular. It joined the bloodstream of such
operatic “selections” that proliferated at the time and served
as tasters for the masses. There’s also the very light and very
early Tarantelle for flute, clarinet and orchestra written
when the composer was twenty-two. The Sarabande et Rigaudon
is a much later work and richly romantic – a concert pair
in olden style. I think most people will have been surprised
to hear tenor Anthony Roden burst forth in the Danse macabre
but it was originally written as a song in 1873. This voice
and orchestra version was arranged by the composer but is very
seldom heard and makes for diverting listening. The Muse
and the Poet is written for violin, cello and orchestra
and is a lyrical and rhapsodic opus which encourages some luscious
phrasing from both players. Some of the unison playing might
remind one of the Brahms Double Concerto.
The solo playing
is highly sympathetic and Geoffrey Simon ensures that these
disinterred morsels receive captivating playing from the LPO.
The acoustic remains slightly swimmy and much here, it’s true,
is minor league Saint-Saëns. But it’s finely played and a worthwhile
re-discovery.
Jonathan Woolf
for details
Gwendolyn Mok (piano)
[77:46]
