Saint-Saens: Complete Symphonies (CD review)

Jean Martinon, Orchestre National de l’ORTF. Brilliant Classics 94360 (2-disc set).

Do I see a trend here? Well, it’s a trend that’s been developing for the past decade or more: Smaller record companies are licensing older recorded material from bigger companies and re-releasing them.  Think of PentaTone, Newton Classics, FIM, HDTT, and now Brilliant Classics. The case in question here is Jean Martinon’s recordings of the complete Saint-Saens symphonies, which Martinon recorded for EMI in the early-to-mid Seventies. The thing is, it’s not as though the EMI editions are hard to find. A quick glance at Amazon shows there are actually four different EMI editions available new, two from the parent company, one from EMI France, and one from EMI Japan. Yet in 2012, EMI apparently licensed the recordings to Brilliant Classics, and they all sound pretty much the same. Whatever, you can never have enough editions of these fine Martinon performances, so the more, the merrier.

French composer and pianist Camille Saint-Saens (1835-1921) wrote five symphonies; however, only one of them, the Third “Organ” Symphony, became at all popular. Even so, its popularity is so immense, it doesn’t matter that the others have found relatively little favor. They’re still interesting, but quite overshadowed by their big brother. It’s good to have them all together in one package if for no other reason than curiosity’s sake. Who knows; a person familiar only with the Third might soon find a new favorite among the others.

Anyway, Saint-Saens wrote his first two symphonies, the Symphony in A major (c. 1850) and the Symphony No. 1 in E flat (1853), while he was still in his teens. Then, he wrote the Symphony in F “Urbs Roma” in 1856 for a writing competition, which may explain why they aren’t quite as mature and well developed as the later works. Even the Symphony No. 2 in A minor (1859) is a relatively early, youthful piece, especially when you consider that the composer didn’t write his monumental Third Symphony until 1886. Thus, what we have are four symphonies written when Saint-Saens was in his teens and twenties, and the final one over a quarter of a century later when he was in his early fifties.

Disc one of this two-disc set begins with the little Symphony in A, unpublished in the composer’s lifetime and seldom recorded. That’s OK; I doubt that anyone could do it more justice than Martinon. There’s plenty of youthful vitality in the work, and Martinon seems to delight unapologetically in it. There’s a lot of Mozart and Mendelssohn in the music, too, which Martinon enjoys as well.

Next come the first two numbered symphonies that Saint-Saens published. Symphony No. 1 begins with a delightfully lilting Adagio that shows the influence of Schumann. The second movement is reminiscent of Bizet; the slow movement of Berlioz; and the finale typical of much French ceremonial music. Martinon pulls all of it off with finesse, making it appear more original and substantial than it probably really is.

Then, disc one concludes with the Symphony No. 2, the best of which comes early, in the first-movement Allegro. It displays a lively seriousness not found in Saint-Saens’s early works. The symphony soon transitions into a more-temperate and completely charming Adagio. The Scherzo and finale return to the energy of the first movement, where Martinon maintains the music’s Mendelssohnian mood and style.

Disc two opens with the unpublished Symphony in F, subtitled “Urbs Roma” (Rome city or city of Rome). Martinon manages to infuse it with a grand sweep that is really quite engaging, especially in the vibrant if slightly dark Scherzo. Still, the work is really just a prelude to the composer’s monumental “Organ” Symphony that follows.

With Martinon’s handling of the Symphony No. 3 in C minor, we get an elegant, graceful, refined reading. Not that it doesn’t catch fire, but if you want something more dashing and exciting, I recommend Charles Munch and the Boston Symphony Orchestra (RCA or JVC) or Louis Fremaux and the City of Birmingham Symphony Orchestra (EMI), who are more explosive in the work. Nevertheless, Martinon pumps up the adrenaline levels, too, while providing a relaxed, expansive, wholly sympathetic interpretation.

The recordings, which EMI made in 1972 and 1974 for the four early symphonies at the Salle Wagram, Paris, and in 1975 for the Third Symphony at the Eglise Saint-Louis de Invalides, Paris, sound uniformly good, if a tad on the warm, soft side. The stereo spread is wide, although the stage depth seems somewhat limited, except in the Third, where it opens up a little more. While the bass could be deeper for the organ, it’s a minor concern. Dynamics also seem a bit restricted; again, not to worry. Overall, this is an extraordinarily smooth, accommodating sound.


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa