BaL 17.02.24 - Saint-Saëns: Symphony no. 3 in C minor Op. 78

[cloughie]

In my view the “ Organ Symphony “ doesn’t have enough organ in it . The final movement part is little more than a few common chords.

Well maybe, but it is wonderfully uplifting and I love it!

[Barbirollians]

Gosh they are lazy at Record Review to be bringing this back so soon . Fond of Munch and Fremaux but fonder still of Serge Baudo on EMI Eminence many moons back

[richardfinegold]

I’ve heard it live twice in Chicago. Not that I sought it out, it just happened to be on my subscription series. Every recording that I have is part of a large collection. Paray is I guess my favorite , because he has a knack for making Saint Saens sound like he matters.
There are some nice bits in this work, but if it weren’t for the novelty of the instrumentation, I don’t think it would have much renown

[smittims]

It is of course a very predictable work; beginning in a hesitant C minor it doesn't take much imagination to see that it'll end in a blaze of C major, via a lush melodious slow movement and a perky scherzo, though the two pianos are a surprise. But surely there's room for such 'poster-art' music now and then. and to be fair, it was intended as a public event in a large hall, rather than for a solitary listener at home. One of the early performances was in the Royal Albert Hall when Saint-Saens was presented with the gold medal of the Royal Philharmonic Society.. I always enjoy hearing it .

[Ein Heldenleben]

I’ve heard it live twice in Chicago. Not that I sought it out, it just happened to be on my subscription series. Every recording that I have is part of a large collection. Paray is I guess my favorite , because he has a knack for making Saint Saens sound like he matters.
There are some nice bits in this work, but if it weren’t for the novelty of the instrumentation, I don’t think it would have much renown

I think it’s better than that to be honest. The organ is beautifully intergrated into the orchestral texture in the slow movement and makes that colossal entry in the final - one of the highlights of 19th century music. Some of the musical working out is a bit thin in places but it has a belter of a tune in the final movement - daringly orchestrated , for the time, with that piano duet banging out arpeggios. A tune that even became an excruciating pop hit - but not CSS’s fault if he can write a wonderful timeless melody . Finally one of the great symphonic ends which , when you analyse it is little more than C major scales in contrary motion. Bit of a work of genius really.

[richardfinegold]

I think it’s better than that to be honest. The organ is beautifully intergrated into the orchestral texture in the slow movement and makes that colossal entry in the final - one of the highlights of 19th century music. Some of the musical working out is a bit thin in places but it has a belter of a tune in the final movement - daringly orchestrated , for the time, with that piano duet banging out arpeggios. A tune that even became an excruciating pop hit - but not CSS’s fault if he can write a wonderful timeless melody . Finally one of the great symphonic ends which , when you analyse it is little more than C major scales in contrary motion. Bit of a work of genius really.

All that you say is true, but some of the recordings and performances that I have heard reduce it to kitsch. The Paray has a ring of conviction to it, despite the organ not being a sonic spectacular. It is the only Saint Saens symphony that holds my attention

[Keraulophone]

The Litaize/Barenboim/ChicagoSO recording has been my favourite since its release. The Chartres Cathedral Gonzalez organ is also employed to great effect on Ozawa's EMI account with the ON de France. I've been dipping into the Martinon ICON box recently and much enjoying its contents, including SS3. I was played the Chandos recording with the Ulster Orchestra/Y-P Tortellier and Gillian Weir on good equipment without knowing the performers, whom I would never have guessed. It's a good example of fine engineering flattering an underrated orchestra and the great 1862 Hill organ in Ulster Hall.

[hmvman]

I have the Litaize/Barenboim recording which is my favourite too. I used to really love this work and probably still do, deep down, but it's been spoiled for me by the too-frequent playings of the last movement on R3, especially on Breakfast.

[richardfinegold]

I have the Litaize/Barenboim recording which is my favourite too. I used to really love this work and probably still do, deep down, but it's been spoiled for me by the too-frequent playings of the last movement on R3, especially on Breakfast.

I’ve been disparaging it here, but I don’t actually dislike it it. Its sheer ubiquity is out of proportion to its worth. In addition to the last movement frequently turning up by itself on the radio , it is frequently used as a demonstration of audio equipment (the Munch recording in particular).
The Saint Saens that I have been listening to recently is the PCs with the Kantorows on BIS. Objectively they may be lesser worth than the Symphony but they are relatively unfamiliar to me and very inventive and entertaining

[pastoralguy]

I should add that it’s great fun to play!

[Barbirollians]

Ah yes the Martinon - another very enjoyable performance.

[Pulcinella]

Apart from the BBC MM CD, it's the Barenboim/Chicago/Chartres (Litaize) version here, but supplemented with LPO/Geoffrey Simon, with James O'Donnell playing the organ in Westminster Cathedral (15 April 1993) dubbed on the orchestral performance recorded at All Hallows Church, Gospel Oak, on 14–19 January 1993, bought primarily for its coupling, Saint-Saens' Requiem, similarly dubbed (a piece that deserves to be better known, imho).

[Darloboy]

Gosh they are lazy at Record Review to be bringing this back so soon . Fond of Munch and Fremaux but fonder still of Serge Baudo on EMI Eminence many moons back

Agreed, couldn't they cover one of the piano concertos for a change.

Previous BaL Recommendations:

James Harding (May 80): Litaize/Barenboim
Lionel Salter (October 87): Hurford/Dutoit + Litaize/Barenboim & Preston/Levine as runners-uo
Edward Greenfield (July 96): Weir/Tortelier + Gavoty/Martinon as bargain choice
Chris de Souza (December 07): Latry/Eschebach
Geoffrey Norris (February 15): Litaize/Barenboim - I remember I bought the Roth period version after listening to the programme

[Ein Heldenleben]

The review seems to be kicking off with a rather arcane extended discussion of the balance between organ and orchestra in the final movement. Bit of a misjudgment in my view.
Blimey hasn’t Anna got a lovely singing voice ? And a very keen rhythmic sense as well.
I’ll never be able to listen to that opening violin figure without thinking of that Charlie Parker like off beat entry .

[Master Jacques]

Yes, she's a good broadcaster with interesting things to say. My ears pricked up near the end, when she mentioned "shouting at her computer" at the winning recording. I wonder what sort of equipment - and indeed files - she was using? I'm glad the LPO/O'Donnell/Segun didn't cross the line first, as it sounded overdriven, overemphatic and vulgar to my delicate ears.