This is the eighth release in what appears to be a slowly evolving series (the first release was in 1997) of Saint-Saëns’ symphonic oeuvre on the BIS label. Most of the recordings feature Jean-Jacques Kantorow conducting the Tapiola Sinfonietta; this is the Liège Royal Philharmonic’s first involvement in the series. Their ongoing Respighi cycle (also on BIS) provides ample evidence of their musical excellence.
Excepting the wildly popular third symphony, Saint-Saëns other four are little known. This is unfortunate because each of them is impressive. The first Symphony in A, written in 1850 when Saint-Saëns was only 15, shows the influence of Mozart (note the first movement’s use of the theme from the last movement of Mozart’s 40th) and Mendelssohn. Yet there is a sweet melodiousness throughout the work that is a hallmark of the composer’s mature style. Kantorow’s performance is fast and lithe, strongly connecting the work to its classical antecedents, whereas Soustrot’s Malmö recording (Naxos) teases out a more sophisticated and rhapsodic mood. Both are excellent and persuasive interpretations.
The “Symphony No. 1 in E-flat,” written just two years later, is an advance on the A major work, most especially its slow movement (interestingly, the longest of the four). Saint-Saëns lyricism is on full display, and the terseness Kantorow adopted in the previous symphony is set aside for greater flexibility of pulse and gentle articulation, so that the writing makes its full emotional impact. Martinon’s approach is similar in his 1970s set played by the Orchestre National de l’ORTF (Erato), but BIS’s SACD sound is markedly superior, warm and resonant yet crystal clear, with a wider dynamic range that captures orchestral playing of greater finesse.
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The second symphony is perhaps the most maligned symphony of the five, though Kantorow’s exceptional performance renders much of that criticism impotent. While still utilizing the four movement Fast-Slow-Scherzo-Fast structure, the first movement features a fugue instead of the expected sonata form, and there is a cyclic connection between each movement, the compositional technique beloved by Franck and his disciples. Kantorow is faster than both Martinon and Soustrot, but only in the first movement does he seem overly hasty. In the final minutes, as the melody passes between winds and strings, Kantorow’s speed makes the passage too serious and stern, whereas Soustrot’s slower and more gossamer phrasing creates a spirit of playful banter. But the slow second movement brings playing of delightful delicacy, and the closing movement, with the agile playing of the Liège strings to the fore, brings an extrovert and scintillating frisson, more impressive that Malmö somewhat stout performance.
These are deeply impressive performances in stunning sound. Yet I am reticent to suggest these are the only recordings of this symphonies that one should own. Soustrot’s readings are more overtly Romantic but just as convincing. The Malmö Symphony brings a sumptuous weight to their tone that perfectly suits Soustrot’s interpretations, beautifully caught by Naxos engineered sound. There is also a widely acclaimed cycle by the Utah Symphony under Thierry Fischer on Hyperion. Martinon’s recordings are fully deserving of their classic status, but their sound is dated when compared to the Naxos and BIS recordings.
These long-neglected works deserve multiple, differing interpretations. We rarely suggest that one performance of a Beethoven symphony completely captures every technical and emotional aspect of the work’s genius. While I make no claim that these symphonies are on that exalted plane, the successful but different performances by Martinon, Soustrot and Kantorow prove these symphonies are great and worthy works that wholly engage the listener on both an intellectual and emotional level. I look forward to hearing Kantorow’s interpretation of the third symphony and tone poems, and hope those recordings arrive soon.
Saint-Saëns – Symphonies No. 1 (Op. 2) No. 2 (Op. 55), in A Minor
Orchestre Philharmonique Royal de Liège
Jean-Jacques Kantorow – Conductor
BIS Records, hybrid SACD BIS-2460
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