Camille SAINT-SAËNS (1835-1921)
Introduction and Rondo capriccioso for violin and orchestra in A
minor, Op. 28 (1863) [9.33]
La muse et le poète for violin, cello and orchestra, Op. 132 (1910)
[16:20]
Symphony
No. 3 in C minor Organ, Op. 78 (1886) [35:37]
Noah Geller (violin), Mark Gibbs (cello), Jan Kraybill (organ)
Kansas City Symphony/Michael Stern
rec. 2013, Helzberg Hall, Kauffman Centre for the Performing Arts, Kansas
City, MO, USA
REFERENCE RECORDINGS RR-136 [61.24]
This new Reference Recordings CD provides a fine opportunity
to hear the qualities of the Julia Irene Kauffman organ Opus 3875 built in
2011 by Casavant Frères of Montréal. This custom-built instrument doesn’t
use an electro-pneumatic action. It’s designed in the French Romantic
tradition with a specially designed mechanical (or tracker) action with 4
manuals, 79 stops, 102 ranks and 5,548 pipes.
The feature work is the Symphony No. 3 ‘Organ’
from 1886, a commission by the Royal Philharmonic Society of London. Saint-Saëns,
himself an organist at the Madeleine Church, Paris, knew what was required
for such a work and conducted the première himself at the St James’s
Hall, London. Especially admired for its glorious themes the score, whilst
containing some novel features, could never be classed as groundbreaking.
Cast in two parts there are four conventional movements and it is dedicated
to the memory of Franz Liszt who died in the year of its completion and never
got to hear it. Clearly delighted by his endeavours with his ‘Organ’
Symphony Saint-Saëns wrote, “I gave everything to it I was
able to give. What I have accomplished here, I will never achieve again.”
A work I have long admired I treasure having attended an especially memorable
performance in 2011 at the Philharmonie, Berlin given by the Deutsches Symphonie-Orchester
Berlin under Leo Hussain with organ soloist Cameron Carpenter. In the Adagio
– Allegro moderato Michael Stern’s well balanced opening
soon increases in weight and volume. The efforts of the Kansas orchestra are
thrilling. Stern engenders a sense of steely determination. The low growling
entry of organ in the Poco adagio is notable and the dialogue between
organ and strings is delightfully reflective. Conversely the skittering Scherzo
is afforded ample amounts of engaging vitality. There is exhilaration in the
celebrated Finale: Maestoso – Allegro when Kraybill
erupts the weighty Casavant organ triumphantly creating a flood of vibrant
colour. This is a powerful and engaging account even if at times the overall
performance would have benefited from increased tension especially in the
final three movements.
Setting the bar remarkably high are two prime recordings that I will continue
to reach for first. Top of the pile is the thrilling 1959 Boston account with
its remarkable sonics. This is conducted by Charles Munch and the Boston Symphony
Orchestra with organ soloist Berj Zamkochian on RCA
Living Stereo SACD. I also savour the passionately romantic account recorded
live as recently as March 2014 at Royal Festival Hall, London from the London
Philharmonic Orchestra under Yannick Nézet-Séguin featuring organist James
O’Donnell. It's on the LPO
label. Two other accounts worthy of attention are the admirable 1976 Medinah
Temple, Chicago account from Daniel Barenboim and the Chicago Symphony Orchestra
with organist Gaston Litaize (using the organ at Chartres Cathedral) on Deutsche
Grammophon and the 1986 Berlin account from the Berliner Philharmoniker
under James Levine and organist Simon Preston recorded at the Jesus-Christus-Kirche/Philharmonie,
also on Deutsche Grammophon.
Saint-Saëns composed his Introduction and Rondo capriccioso with
the guidance of his friend, distinguished Spanish virtuoso Pablo de Sarasate,
the dedicatee. It's a staple of the violin repertoire and not surprisingly
there are a considerable number of recordings. Concertmaster Noah Geller gives
a spontaneous sounding and assured performance with a felicitous gypsy swagger.
It’s hard to fault the sensitive support Geller receives from the KCS.
A mainstay of the recording catalogue I admire the engaging 1977 Kingsway
Hall, London account from Kyung-Wha Chung who seems to relish every second
of the composer’s inspiration. Chung garners strong support from the
Royal Philharmonic Orchestra under Charles Dutoit on Decca.
La muse et le poète for violin, cello with piano accompaniment was
composed in 1910 in memory of Mme. J. Henry Caruette of Dieppe, an admirer
of the composer. It was Eugène Ysaÿe and Joseph Hollmann that introduced the
grand duet in London in 1910. The musical dialogue between the pair of instruments
features the cello as the poet and the violin its muse. Saint-Saëns later
orchestrated the score into the version played here. One of the few examples
of double concerto design this work at times reminds me of the contemporaneous
English pastoral style. The work is very much about mood. Its need for two
soloists means that it is rarely programmed in the concert hall today. The
compelling playing and agreeable string tone of concertmaster Noah Geller
and cello principal Mark Gibbs spell romantic refinement. A high point is
the glorious playing of the meltingly beautiful theme at 11.28-12.00 (track
2). The recording of La muse et le poète that I turn to first is
from violinist Capuçon and brother Gautier an alliance that conveys a ripe
tenderness and sense of poetry that fits the disposition of this intimate
music like a glove. Splendidly supported by Orchestre Philharmonique de Radio
France under Lionel Bringuier this Erato
account has the edge over the sensitive 1999 Hamburg account from violinist
Joshua Bell and cellist Steven Isserlis accompanied by NDR Sinfonieorchester
under Christoph Eschenbach on RCA
Red Seal.
Recording engineer Keith O. Johnson excels with his excellent sonics which
are crystal clear and well balanced with plenty of presence. This beautifully
produced release is a pleasure to own.
Michael Cookson
Previous reviews:
Dan Morgan and John Quinn
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