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.
Like many Caribbean nations, Trinidad has felt the effects of globalization on its economy, politics, and expressive culture. Even Carnival, once a clandestine folk celebration, has been transformed into a major transnational festival. In Trinidad Carnival, Garth L. Green, Philip W. Scher, and an international group of scholars explore Carnival as a reflection of the nation and culture of Trinidad and Trinidadians worldwide. The nine essays cover topics such as women in Carnival, the politics and poetics of Carnival, Carnival and cultural memory, Carnival as a tourist enterprise, the steelband music of Carnival, Calypso music on the world stage, Carnival and rap, and Carnival as a global celebration.
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.
The acclaimed Fidelio Trio make their Resonus debut with an exquisite recording of French piano trios – Camille Saint-Saëns’ large-scale Op. 92 second trio, and Maurice Ravel’s sole foray into the genre dating from 1914. Coming off the back of a Royal Philharmonic Society Award nomination in 2016, this recording sees the trio expand on their unparalleled reputation for new music, demonstrating the vast range of this brilliant chamber group’s abilities and talent.
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).