On this disc, Jean Guillou teams up with Edo DeWaart and the San Francisco Symphony for a lush performance of Camille Saint-Saens Symphony No. 3, popularly known as the Organ Symphony. This is a lush performance of the Organ Symphony with spot-on tempi, great orchestral balance, and unsurpassed balance between organ and orchestra. This symphony has one long melodic line after another, and DeWaart keeps a long view that prevents any sense of meandering. The organ is stunningly recorded. Brass blaze with glory. Strings are lush. Timpani are extremely well-defined. The clarity of the recording provides an excellent window into finer details. It is difficult to imagine how anything could have been improved upon. The disc is filled out with a strong performance of Widor's Allegro from his Symphony No. 6. This account of the Organ Symphony has everything going for it. There are no obvious weaknesses. If you have excellent subwoofers, they will get the workout of their life. Very Highly Recommended!
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.
For years Philips has witlessly reissued, over and over, Edo de Waart's not particularly spectacular Rotterdam recording of Saint-Saëns' "Organ" Symphony, letting this superb version, one of the great modern recordings of the piece, languish out of print. If you missed it during its 15 minutes of availability back in 1985, here's your chance to make amends…. Haitink's Bizet Symphony always has been a reference recording, distinguished by its stunning playing (marvelous oboe solo in the second movement) and unfailing elegance of phrasing. Indeed, the approach is quite similar to de Waart's
Fans of Leonard Bernstein will not want to miss the chance to snap up this limited edition 60-CD set, Bernstein Symphony Edition. With a list price of just over two dollars per disc, it's a bargain not to be missed. What's most impressive about these recordings of well over 100 symphonies made between 1953 and 1976, almost all of which feature the New York Philharmonic, is the scope and depth of Bernstein's repertoire.
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.
Precocious as a child, Camille Saint-Saëns was once known as the French Mendelssohn. The remarkably assured First Symphony, completed at the age of 17, was praised by Berlioz and Gounod at its first performance. The elegantly crafted Second Symphony defies convention not least by basing the first movement on a fugue, while the symphonic poem Phaéton skilfully brings this Greek mythological drama to life with stampeding horses, thunderbolts and a moving apotheosis. This is Volume 1 of 3 devoted to the five Saint-Saëns Symphonies.