Messages

I am just finishing up Nathan Platte's "Making Music in Selznick's Hollywood" which as expected features Max Steiner- absolutely fascinating. And one of the most remarkable aspects is that even in cases where one name is featured in the credits as Composer, usually at least 2 and often more composers worked on the film. Steiner was often working on one film for Selznick and another film for Warners simultaneously. And of course numerous orchestrators were involved. All of them were very talented and had astonishing facility. David O. Selznick was one of the first producers to take serious interest in the score to a film.

After listening to Hulda twice, I was certainly impressed with the work. The "pigeon holing" of Franck in some dusty organ loft seems more inaccurate than ever. Many thanks for the download. thank you.

May I inquire if the recording of L'étranger that was made of the 2010 Montpelier Festival broadcast is still available? I have looked for it through the usual channels and can not find it anywhere. I thought that the performance of Fervaal available through the Download site, was very interesting- and beautifully cast, a fine presentation. Thank you.

Thanks everyone! looking forward to getting this disk.

There seems to be some confusion about Albert Dupuis- I checked the link for "Macbeth" and saw that the composer is given as Sylvain Dupuis, with dates close but not the same as that listed for Albert Dupuis on this disk. Checking Wikipedia for Albert Dupuis, I found what appears to be another Albert Dupuis, born in 1877. Thoroughly confused at this point! Does anyone know the answer to this puzzle? thanks!

Thank you, Christopher for the links to Dejanira- will dive in! I am so impressed with the operas that I have heard, particularly Henry VIII, Ascanio, Etienne Marcel, and Proserpine in particular. But, we also really need live performances of the chamber works -all over! Here in the US we don't get that much of Saint-Saens, or anyone else beyond the stalwarts, because of the decline of the audience [aging and numerical] and the slow reduction of the number of concerts in the average season.One or two works of Saint-Saens in an average season here in Baltimore [we just had the Cello Concerto, Number 1, with Sheku Kannah-Mason]. It is worrisome for music overall.

Saint-Saens Symphony #3 with organ is just starting on the radio! thank you Powers that Be!

That Fredegonde and Dejanire may finally appear with complete recordings is great news. The YouTube excerpts of Fredegonde illustrate the beauty and power of the music. And the only music that I know of from Dejanire is found in Saint-Saens' earlier symphonic poem, La jeunesse d'Hercule - the rest is legendary- I have to investigate getting the excerpts that Christopher indicates [thank you for mentioning]. I am hoping to hear of more performances in the concert hall- and not only of the popular works, but more chamber pieces, and the tremendous legacy of instrumental music.

Recently, I have been listening to an absolutely delightful comic ballet- Saint-Saens' "Javotte" which is a La Fille mal Gardee story. The themes are irresitable, and the characters spring to life right from the start. The recording [I think there is only one of the complete ballet: Andrew Mogrelia leading the Queensland Orchestra,] is very good, though perhaps warmer colors from the orchestra would be welcome. This is Saint-Saens' only full length ballet, and has all of the freshness and engagement one expects from this master. Highly recommended. By the way, Saint-Saens was a friend and admirer of Lalo.

May I recommend the first two violin concerti of Saint-Saens? The third is famous, of course and widely available, but the first two are excellent too. Actually the one known as the Second was composed before the First. The Second dates to 1858 [was not published until twenty years later] and is a beautiful, somewhat "Italianate" work, in the traditional 3 movements, but the First, which was inspired by Saint-Saens meeting Sarasate is a condensed work in one movement. It was written shortly after the earlier Second, and is a perfect jewel of a piece [in my opinion, of course!]. There are good recordings of both of these works, usually with the very famous Third violin concerto.

Agree, such a great work. So, has anyone actually heard the first 4 symphonies in this series? The set received a generally negative review in the American Record Guide by the editor, Donald Vroon, but I am really interested in hearing from members here. thank you.

Yes, perhaps "over the top"... but as Mae West famously said: "Too much of a good thing...is wonderful!"

I really love Svetlanov's recording of the Saint-Saens' Third- massive, slow, but never slack! He was a great conductor and clearly had the Swedish orchestra playing at their peak. It is such a good antidote to the recent trend for too fast and anemic, undersized orchestras. I find that Martinon's superb recordings from 1975 remain the standard for the first four symphonies. Martinon really brings out the magic of the "Urbs Roma" Symphony, better than anyone else- though I definitely enjoy Soustot's recording too. And Martinon's knife edge playing of the Second symphony, another masterpiece, is riveting. [one opinion, of course, but based on 50+ years of listening]. thank you.

Has anyone purchased the set as yet, and thoughts on the other four symphonies? I am particularly interested in the unpublished Symphony "Urbs Roma", which Martinon does to perfection [my opinion]. Despite that I would love to have additional recordings, showing different view points. I have the Soustrot recording, which I enjoy, but prefer Martinon. [Rather like the slower pacing in the snippets of the Symphony #3]. And the Symphony #2 is another masterpiece- how does it fare in this new set?

Kevin S- in regard to Les Barbares, I found that there is allot of very fine music in the score, but the soloist, particularly the tenor and mezzo soprano were very unsatisfactory- the first has a voice too small for the role, without core or any darkness, and the latter wobbles all over the place. It is difficult to enjoy a new work, when the singers have such difficulty. On the other hand, it is unlikely that the opera will receive another recording. Among the operas of Saint-Saens, I find that Henry VIII, Ascanio, Etienne Marcel, and Proserpine to be really great discoveries that could join Samson et Daiila in the repertory as occasional visitors, at least. I also enjoy Helene and The Yellow Princess, both well recorded.

Jessye Norman was an amazing artist,her great natural gifts and dedication to her art. And she had a magnificent stage presence; I was fortunate to see her 3 times at the Metropolitan Opera- twice in Les Troyons [the second time, she sang both Cassandra and Dido]. We are blessed to have her recorded legacy.