The essence of Camille Saint-Saëns' music comes through perhaps most clearly in his music for solo instrument and orchestra, which exemplifies his elegant combination of melody and conservatory-generated virtuosity. The two cello concertos are here, plus a pair of crowd-pleasing short works for piano and orchestra, and the evergreen Carnival of the Animals, with pianists Louis Lortie and Hélène Mercier joining forces along with a collection of instruments that includes the often-omitted glass harmonica. There are all kinds of attractions here: the gently humorous and not over-broad Carnival, the songful cello playing of Truls Mørk, and the little-known piano-and-orchestra scene Africa, Op. 89, with its lightly Tunisian flavor (sample this final track). But really, the central thread connecting them all is the conducting of Neeme Järvi and the light, graceful work of the Bergen Philharmonic Orchestra; French music is the nearly 80-year-old Järvi's most congenial environment, and in this recording, perhaps his last devoted to Saint-Saëns, he has never been better.
Sony Music is proud to announce the worldwide release of Yo-Yo Ma: 30 Years Outside the Box, a deluxe box set of Yo-Yo Ma's recorded legacy. This elaborate, numbered, limited-edition box will celebrate Yo-Yo Ma's 30th Anniversary with the label. Created with the full participation of Yo-Yo Ma, 30 Years Outside the Box, is the definitive collection of this iconic artist in a presentation as beautiful and timeless as the music itself.
This is another "big hall" recording of Saint-Saëns' Organ Symphony that attempts to capture all the tremendous sonic energy of the music in one acoustic. The Salle Wagram has sufficient reverberation to accomplish this task, but it comes at a price.
In this saga of hatred and holy war, of power and desire, there is no victor and no truth. The god-like is diminished, power restricted, taboos are broken, love betrayed. Only the composer can afford uninterrupted pathos in the wonderful duet of Samson and Dalila in the second act, which misleads us to believe in a moving story of love. Perhaps it truly is. The story of Samson is contradictory, it is human. Camille Saint-Saëns completed the work in 1876, but was only able to bring about its first performance in 1877 through the mediation of his friend Franz Liszt with pre-eminent success in Weimar. In France, where the elements of oratorio and the influence of Wagner were not well received, the first performance would not follow for another 13 years. Samson et Dalila ranks among the masterpieces of 19th century French Opera - and among the showpieces favored by the Argentine tenor José Cura. In the recorded production he saw himself celebrated on stage as a unified three-in-one: eponymous hero, director and stage designer.
A diverse and sparse series of songs, most of which revolve around falling out of love and disillusionment with the world in general. Although these themes could lead to Carnival Love being one of the most depressing albums ever, Amy Correia's fragile, singsong voice carries each track gently along, leaving the listener with an unshakable feeling of hope. Reminiscent of Mary Lou Lord or Victoria Williams, her little girl voice belies a worldly brashness and wry knowledge that lends itself well to her sparse poetry. A good first album which will surely lead to even more successful efforts in the future.
Saint-Saens’s Etudes offer an intricate and scintillating panoply of the French school of technique (the basis and prophecy of what Jean-Philippe Collard so mischievously called Marguerite Long’s ‘diggy-diggy-dee’ school of piano playing). Yet as Piers Lane tells us in his alternately wry and delightful accompanying essay (obligatory reading for all lovers of French pianism), they can be as evocative (‘Les cloches de las Palmas’) as they are finger-twisting (‘En forme de valse’, to name but one). The left-hand Etudes, too, given their self-imposed limitation, are a fragile and poetic surprise. In other words Saint-Saens’s Etudes are more comprehensive than their equivalents by, say, Moszkowski or Lazare Levey (superbly recorded by Ilana Vered on Connoisseur Society and Danielle Laval on French EMI, respectively – neither issued in the UK).