Camille SAINT-SAËNS (1835-1921)
Piano Concerto No. 3 in E flat major, Op. 29 (1869) [27:11]
Piano Concerto No. 4 in C minor, Op. 44 (1875) [24:39]
Piano Concerto No. 5 in F major, Op. 103, ‘L’Égyptien’ (1896) [27:47]
Alexandre Kantorow (piano)
Tapiola Sinfonietta/Jean-Jacques Kantorow
rec. 2016 (Nos. 4 & 5), 2018 (No. 3), Tapiola Concert Hall, Finland
Reviewed as a 24/96 download from
eClassical
Pdf booklet included
BIS BIS-2300 SACD
[80:37]
It’s good to see Saint-Saëns’s piano concertos gaining traction these days,
especially as the focus so often falls on his ubiquitous ‘Organ’ Symphony.
The latest recordings of these winning works include: Nos. 2 and 4 with
Bertrand Chamayou and the Orchestre National de France under Emmanuel Krivine
(Erato 9029563426); Louis Schwizgebel and the BBCSO conducted by Fabien
Gabel and Martyn Brabbins in Nos. 2 and 5 respectively (Aparté); and the Naxos/Romain Descharmes traversal of all five with the Malmö
Symphony Orchestra directed by Marc Soustrot. I heartily recommend
Vols. 1 and 2
of that cycle, but
Vol. 3,
which pairs the fourth and fifth concertos, is a major disappointment.
Chamayou, Schwizgebel and Descharmes, all in the thirties, are fine
pianists, but the stellar talent here is the young Alexandre Kantorow (b.
1997). I first encountered this remarkable Frenchman in eloquent and
insightful accounts of the three Liszt concertos, also with the Tapiola
Sinfonietta conducted by his father, Jean-Jacques (BIS). I described the then teenager as a ‘virtuoso of rare sensitivity and
good taste’. I was similarly impressed by his well-filled solo album, à la russe, whose ‘zephyrs and whirlwinds’ simply confirmed
his many talents (BIS). That said, when it comes to Saint-Saëns’s output for piano and
orchestra, it’s the scintillating Stephen Hough, with the CBSO and Sakari
Oramo, who’s still the one to beat (Hyperion). Indeed, these vital, spontaneous performances from 2000/2001 are a
must-have for pianophiles and fans of this composer alike.
The recorded sound of Hough’s and Descharmes’ Op. 29 is bright and clear,
so I was disconcerted, albeit briefly, by the unusually dark-toned opening
to Kantorow’s reading. At first I thought this signalled a less-than-lively
presentation, only to realise we’re hearing the instrumental weight/body
that most rivals seem to miss. Indeed, Arcantus engineer Martin Nagorni’s
production has all the tonal richness and overall sophistication that makes
Jens Braun’s Liszt so special. (Take5’s Braun is listed as the producer
this time around.) Happily, Kantorow fils gives a very attractive
performance of the piece, the quieter moments of the opening movement well
shaped and nicely nuanced. The orchestra, sounding wonderfully aerated in
the ensuing Andante, then match the soloist’s urge and sparkle in
the concluding Allegro. In short, a terrific start to this enticing
programme.
The fourth and fifth concertos were recorded two years earlier, when this
phenomenal pianist was not yet twenty. The former, a shadowed and more
introspective work in two movements, is thoughtfully done, its pianistic
flourishes a pleasing foil to those dark, declamatory timps. Again, the
recording is beautifully detailed, the piano especially alluring in the
opening Allegro moderato - Andante; as before, balances are entirely
natural. Ultimately, though, it’s the soloist who deserves the most credit
here, given his surefooted sense of style and structure. Meanwhile,
Kantorow père proves an alert and judicious accompanist, notably in
the now animated, now inward Allegro vivace - Andante - Allegro. He
and his Finnish players certainly match the soloist in terms of felicitous
phrasing and finely calibrated dynamics. It’s very different from the sheer
momentum and brilliance one gets with Hough, for instance, but the deeper
rewards of this new album are immense.
At this juncture I’d planned to revisit Hough’s accounts of Nos. 4 and 5,
but decided there was little point, as I was so engaged - nay, captivated -
by the young Kantorow’s magical, multifaceted readings of both.
Schwizgebel’s performance of the exotic fifth is essential listening,
though, yoking as it does a keen intellect with all necessary impulse. That
said, he’s not as limpid, as ravishing, as Kantorow in the gentler musings
of the Allegro moderato. As for the spiced rhythms and timbres of
the remaining movements, they’re supremely well pitched and caught; in
fact, there’s a sudden - and sustained - sense of presence, of ‘being
there’, that adds immeasurably to one’s enjoyment of the music. It’s all so
poised and proportionate, yet that energetic dash to the finish line is as
exhilarating as it gets. (Goodness, I hope there’s more to come from this
talented team.) Jean-Pascal Vachon’s excellent liner-notes complete this
top-flight release.
Alexandre Kantorow eschews runaway virtuosity for something much more
thoughtful and illuminating; très extraordinaire.
Dan Morgan
