Camille SAINT-SAËNS (1835-1921)
Piano Quartet in B flat major (1875) [31.45] *
Piano Quintet in A minor (1854-55) [30.08] +
Barcarolle in F major (1897) [9.09] ~
Cristina Ortiz (piano)
Fine Arts Quartet (Ralph Evans (violin 1)*+; Efim Boico (violin
2)+~; Nicolò Eugelmi (viola); Robert Cohen (cello))
rec. Concert Hall, Performing Arts Centre, Purchase College, State
University
of New York, Purchase NY, 26-29 March 2012
NAXOS 8.572904 [71.12]
Surprisingly, recordings of Saint-Saëns smaller scale works -
songs, chamber music and instrumental works - are still not exactly thick on
the ground. That’s surprising considering their charm and
accessibility. This new Naxos release is therefore most welcome.
The real gem here is Saint-Saëns’ gorgeously evocative
Barcarolle - worth the cost of this CD alone. The opening cello
material suggests the movement of the gondola’s oars while the piano
emulates rippling waters before it breaks into romantic lyricism embroidered
by the upper strings. More intense and more passionate material ensues and
the waters become a little turbulent for a while; a lovers tiff, perhaps.
Tensions soon ease, as the waters calm and the gondola passes peacefully by.
The equally accessible and charming Piano Quartet in B flat minor,
considered to be a masterpiece of the chamber music repertory, is a sunny
work. It is not far removed from the delicate, relaxed sound-world of
Fauré. Its opening movement is beautifully lyrical, intimate but also
outwardly optimistic. The second movement is, in contrast, more aggressive
in tone with the piano’s opening chords pompous and assertive. The
strings echo the mood but more mildly, then cheekily mock the imperious
piano with mischievous chatter. The piano relaxes and there is fun for a
little while before contrapuntal seriousness overtakes all. The quirky third
movement starts merrily, all skipping and hopping with cadenzas for violin
and piano. The finale is substantial and, unusually, significantly longer
than any other movement. It contains material from the first and second
movements and is optimistic and joyous. It has some extraordinary glissandi
that are quite dizzying. The Fine Arts Quartet and the always reliable
Cristina Ortiz deliver winning performances that are a joy to the ear.
The Piano Quintet was composed when Saint-Saëns was not yet
twenty years old. It is a confident and assertive work presenting a big
challenge to the pianist. The piano part is often cast in the role of a
concerto solo instrument. The opening movement feels epic. It opens very
affirmatively with strident piano chords. The strings’ contribution is
more lyrical. The second movement moves from self-assertion to
self-abnegation. It has a lovely hymn-like theme and, moves forward in
reverent and quivering contemplation and supplication. The Third Presto
movement carries straight on without a break. The mood now is one of
merriment. Judging by the piano’s devilish runs and the strings’
shrieks something much less hallowed is being hinted at. The
Allegro
finale is led by a solemn cello into a long fugal theme that echoes the
hymn-like material of the
Andante.
A gorgeous programme of Saint-Saëns’ beguiling chamber
music played with great authority and flair.
Ian Lace
