RARE VINTAGE CLASSICAL SYMPHONIC ORGAN CONCERTO
ANGEL RECORDS 35336
SLEEVE IS IN GOOD CONDITION - LP IS IN EXCELLENT CONDITION
Composed by CAMILLE SAINT-SAENS
Camille Saint-SaÃ«ns was something of an anomaly among French composers of the nineteenth century in that he wrote in virtually all genres, including opera, symphonies, concertos, songs, sacred and secular choral music, solo piano, and chamber music. He was generally not a pioneer, though he did help to revive some earlier and largely forgotten dance forms, like the bourÃ©e and gavotte. He was a conservative who wrote many popular scores scattered throughout the various genres: the Piano Concerto No. 2, Symphony No. 3 ("Organ"), the symphonic poem Danse macabre, the opera Samson et Dalila, and probably his most widely performed work, The Carnival of The Animals. While he remained a composer closely tied to tradition and traditional forms in his later years, he did develop a more arid style, less colorful and, in the end, less appealing. He was also a poet and playwright of some distinction.
Saint-SaÃ«ns was born in Paris on October 9, 1835. He was one of the most precocious musicians ever, beginning piano lessons with his aunt at two-and-a-half and composing his first work at three. At age seven he studied composition with Pierre Maledin. When he was ten, he gave a concert that included Beethoven's Third Piano Concerto, Mozart's B flat Concerto, K. 460, along with works by Bach, Handel, and Hummel. In his academic studies, he displayed the same genius, learning languages and advanced mathematics with ease and celerity. He would also develop keen, lifelong interests in geology and astronomy.
In 1848, he entered the Paris Conservatory and studied organ and composition, the latter with HalÃ©vy. By his early twenties, following the composition of two symphonies, he had won the admiration and support of Berlioz, Liszt, Gounod, Rossini, and other notable figures. From 1853 to 1876, he held church organist posts; he also taught at the Ã‰cole Niedermeyer (1861-1865). He composed much throughout his early years, turning out the 1853 Symphony in F ("Urbs Roma"), a Mass (1855) and several concertos, including the popular second, for piano (1868).
In 1875, Saint-SaÃ«ns married the 19-year-old Marie Truffot, bringing on perhaps the saddest chapter in his life. The union produced two children who died within six weeks of each other, one from a four-story fall. The marriage ended in 1881. Oddly, this dark period in his life produced some of his most popular works, including Danse macabre (1875) and Samson et Dalila (1878). After the tragic events of his marriage, Saint-SaÃ«ns developed a fondness for FaurÃ© and his family, acting as a second father to FaurÃ©'s children.
But he also remained very close to his mother, who had opposed his marriage. When she died in 1888, the composer fell into a deep depression, even contemplating suicide for a time. He did much travel in the years that followed and developed an interest in Algeria and Egypt, which eventually inspired him to write Africa (1891) and his Piano Concerto No. 5, the "Egyptian". He also turned out works unrelated to exotic places, such as his popular and most enduring serious composition, the Symphony No. 3.
Curiously, after 1890, Saint-SaÃ«ns' music was regarded with some condescension in his homeland, while in England and the United States he was hailed as France's greatest living composer well into the twentieth century. Saint-SaÃ«ns experienced an especially triumphant concert tour when he visited the U.S. in 1915. In the last two decades of his life, he remained attached to his dogs and was largely a loner. He died in Algeria on December 16, 1921.
selection SYMPHONY No. 3 in C Minor ("Organ"), Op. 78
The London Philharmonic Society commissioned the Symphony No. 3 from Saint-SaÃ«ns, much as it had Beethoven's Ninth Symphony. Saint-SaÃ«ns directed the first performance in London on May 19, 1886. Although he lived until 1921, Saint-SaÃ«ns would not compose another symphony. He later explained: "With it I have given all I could give. What I did I could not achieve again." He had intended to dedicate the piece to Liszt, but the score was published after Liszt's death with the inscription, "Ã la Memoire de Franz Liszt."
The Symphony in C minor shows Saint-SaÃ«ns' use of thematic transformation, also present in the overture Spartacus and the Fourth Piano Concerto. This technique Saint-SaÃ«ns observed in the symphonic poems of Liszt, as well as in Berlioz's Symphonie fantastique. Following their lead, Saint-SaÃ«ns takes his principal theme through transformations throughout his Third Symphony. To the typical forces of a large orchestra he added his and Liszt's primary instruments, the organ and piano. Saint-SaÃ«ns cast the symphony in two large sections, but each of these is in two clear parts, creating a traditional four-movement work.
After an Adagio introduction, the tempo shifts to Allegro moderato and the strings perform the main theme of the first movement, which incorporates the chant at the beginning of the Dies irae, a melody associated with both death and, in part because of the Totentanz, Liszt. The melody exhibits an AABB pattern, which is typical of the composer's works, and is the main idea, or "motto" theme, of the entire symphony. This restless theme is transformed and eventually gives way to a new, calmer idea. Afterward, these two themes appear simultaneously in the development section before a return brings more transformational episodes and prepares for the slow "movement," in D flat major.
Strings, supported by organ chords, perform the main theme of the second movement, Adagio, which is the best known section of the Third Symphony. Woodwinds take the peaceful theme and vary it until a new transformation of the "motto" theme injects contrasting, restless energy. A return of the Adagio theme rounds off the movement. Near the end we hear a brilliant mixture of woodwinds with reed stops on the organ.
An aggressive, brief theme opens the Scherzo, a transformation of the motto contained in the low string outburst that follows the first phrase. When the tempo changes to Presto, the piano enters with rapid, rising arpeggios and scales, played several times on different harmonies. The Scherzo material returns, and what seems like a reprise of the Presto section introduces a new theme, played by the lower instruments under busy figurations and anticipating the finale.
The finale opens with a powerful chord played on the organ. Yet another transformation of the "motto" theme appears; this time its ties with the Dies irae are very clear. A few quiet statements follow before the organ and orchestra join in a powerful presentation of the transformed theme. After a development section, the piece closes with all the available forces in C major.
performed by Henriette Roget, Organ
and the Orchestre de la Societe des Concerts du Conservatoire
conducted by Andre Cluytens
AndrÃ© Cluytens was among the leading French conductors of his time. His father, Alphonse Cluytens, was also a conductor, and recognized the boy's musical talents. AndrÃ© was enrolled in the Royal Flemish Conservatory at the age of nine. He studied in the piano class of Emile Bosquet, and received first prize for piano at the age of 16. The next year he won first prize in harmony, theory, counterpoint, and fugue.
His father was conductor at the Royal French Theater of Antwerp. AndrÃ© became his assistant and a choirmaster there. When an illness prevented Alphonse from conducting, AndrÃ© made his performance debut in 1927 in Bizet's Les PÃªcheurs de perles. After that experience he devoted his efforts to orchestral and opera conducting rather than choral work, and he became a resident conductor in the house.