Camille SAINT-SAËNS (1835-1921)
Music for Piano Duo and Duet - Volume 1
Tarantelle, Op.6 [6:23]
Duettino in G Major, Op.11: I. Andantino grazioso [4:02]
Duettino in G Major, Op.11: II. Allegretto [4:04]
Le Rouet d'Omphale, Op.31 [8:14]
König Harald Harfagar, Op.59 [5:03]
Septet in E Flat Major, Op.65: I. Menuet [4:02]
Septet in E Flat Major, Op.65: II. Gavotte [2:34]
Polonaise, Op.77 [10:34]
Feuillet d'album, Op.81 [3:18]
Berceuse, Op.105 [2:42]
Scherzo, Op.87 [10:11]
Pas redoublé en si bémol majeur, Op.86 [4:21]
Martin Jones and Adrian Farmer (piano(s))
rec. 14-15 May 2015, 1-2 October 2015, Wyastone Leys, UK
NIMBUS NI5940 [65:35]
After a long period of being viewed as a one-hit wonder, Saint-Saëns'
music seems to be more often recorded with his lesser-known works finally
being explored by record companies. So, here we have the first of a
two-disc series with the well-known pianist Martin Jones accompanied by Adrian
Farmer in the music for piano duo and piano duet. It also transpires
that volume 2 is already being advertised on the inside of the cover notes
so we must hope that it is to be released soon. Some of the pieces here
have been recorded elsewhere often as fillers or asides on other piano duo
or piano duet CDs. The present disc - and the one that follows it -
includes various arrangements by the composer of works which are often better
known in alternative guises. Sadly, we still await a complete set of
recordings of this composer’s works for piano duet or piano duo although
I hope that this might turn out to be the first instalment of such a set.
To begin with we have the Tarantelle, Op.6 which is more often heard
in either the version for piano, flute and clarinet (as heard on the Nash
Ensemble's excellent Hyperion recording) or for flute, clarinet and
orchestra. Here, the composer faithfully redistributes the flute and
the clarinet parts and this works very well.
The Duettino is an original work for piano duet and was published
in 1855, making it fairly early. It is a charming little piece in two parts
written when the composer was 20. It has a particularly witty first part and
a more powerful, but also charming, second section. It is perfectly played
here with just the right amount of Gallic charm.
Saint-Saëns wrote four symphonic poems, the most famous of which is Danse
Macabre (Op.40) which incidentally is scheduled to appear on disc two
of this series. He also arranged the others for two pianos. The next track
is one of these arrangements – Le Rouet d’Omphale (Omphale's
Spinning Wheel). I’ve always liked this piece and here, in two-piano
guise, it loses none of the clarity or detail found in the orchestral version.
The playing is top-notch once again. As an aside, I think Saint-Saëns must
have known the Spinning Song from Wagner’s Flying Dutchman
as in my head, the main theme of this keeps morphing from one piece to the
other.
Having said that Saint-Saëns wrote four symphonic poems, it is thought that
the next piece, written for piano duet and published as Op.59, was originally
intended as a fifth but this never came to fruition. This is König Harald
Harfagar, Op.59, inspired by a ballad by Heine. The first part of the
piece seems more closely allied to late period Liszt with whole-tone scales
and sinister tremolandos. However, the second half is brighter in nature with
hints of the darker music relegated to quiet accompanying murmurings. This
is another great piece which I had never heard or heard of before this recording.
It is given a great performance.
Saint-Saëns' Septet, Op.65 is well enough known these days,
if not encountered in concert very often. The composer obviously thought it
could do with a little more publicity so arranged two of the four movements
for two pianos. Again, these are played with clarity and precision and a witty
outlook which suits this music perfectly. I prefer this two piano version
to the original.
The Polonaise, Op.77 was written in 1886 and is very Polish in character.
This is a piece I have been familiar with for years and even after all this
time, the main theme sticks in my mind. It has been recorded many times and
here it is given an exemplary performance. The difficult rhythms in the middle
section are perfectly judged and the two pianists are perfectly in synch throughout.
Track 9 is the Feuillet d'album, Op.81 for piano duet. It's
a gorgeous little piece and put paid to the notion that this composer could
not write emotional music. This is also fairly well-known and has been recorded
before. I really like the way this is played here.
Next follows the Berceuse, Op.105 which is a peaceful short piece
as befits the title and is similar in style for Fauré’s Berceuse
– a fact which is pointed out in the cover notes. Again, the playing
is superb and makes you forget there are actually two people playing.
The Scherzo for two pianos follows next with its late Lisztian opening
before becoming a whole lot more boisterous than the preceding Berceuse.
Considering the circumstances in which it was written — Saint-Saëns
beloved Mother had just died — there is little hint of misery or grief.
It bounces along cheerfully for much of its running time and again the composer's
trademark wit is very much to the fore. The only cloud on the horizon is found
in a rather unusual set of scale passages occurring at around 8 minutes. These
are rather mysterious and, despite their differences from the remainder of
the piece everything fits together very well. These scales lead into a jaunty
theme which serves to round things off in spectacular fashion. This is fantastic
stuff and deserves to be better known.
The final track is a transcription for piano four hands of the Pas redoublé,
originally written for military band. This is music with a broad smile on
its face, marvellously cheerful. It bounds along full of energy. I defy anyone
not to grin while this is playing. Marvellous.
In summary, the two pianists are perfectly in tune with one another at all
times. This is thoroughly enjoyable and well recorded with some interesting
cover notes. I really look forward to hearing volume 2 … with volumes
3 and 4 to follow, I hope.
Jonathan Welsh
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