Saint-Saëns: Symphony No. 3 “Organ Symphony” (CD Review)

by Karl Nehring

Paolo Bordignon, organ; Park Avenue Chamber Symphony; David Bernard, conductor. Recursive Classics RC5230977

The last time we reviewed a recording by the Park Avenue Chamber Symphony, their sparkling account of the Mahler 9 , we offered a fairly lengthy explanation of why the name “Chamber Symphony” should not be taken to mean that they are anything other than a full-sized symphony orchestra – well-suited for Mahler, well-suited for Saint-Saëns. Wording on the cover of this latest release proclaims that this is a “Live InsideOut Concerts^® Recording.” Maestro Bernard has developed methods for seating audience members amongst the orchestra to enhance their listening experience, recently earning a patent for algorithms he has developed to precisely arrange seating based on the hall, orchestra, and other parameters. Although we have occasionally expressed reservation about live recordings, the engineering on this release is remarkably good, offering a stereo soundstage that is deep, wide, and coherent. The engineering perfectly complements the music, which as the delightfully informative notes by critic David Patrick Stearns points out, abounds with subtle details. As you listen to a fine recording such as this one, it’s easy to appreciate that it’s so much more than just a showpiece for the organ.

 

Of the potential problems presented by the organ, Stearns explains, “Saint-Saëns breezily remarked that his symphony should do well in America thanks to the presence of many organs. In fact, the organ is the primary challenge to be solved. Great organs are based in great churches – amid acoustics not favorable to orchestras. In many recordings, the organ has been recorded separately – sometimes continents away – and synched, not always comfortably, with the orchestra. Balances that favor the organ detract from the orchestra and vice versa. ‘For 140 years, the Organ Symphony has been approximated,’ remarked David Bernard in a April 2026 piece for Gramophone Online. ‘It has never quite been performed.’ Modern digital organs are one possibility. But as Bernard reveals, the ideal solution is highly elusive.”

 

Is this new recording by Maestro Bernard, his Park Avenue players, and organist Bordignon that highly elusive ideal solution? The answer to that question will depend upon the expectations of the listener, of course. In terms of the precision of the playing, the transparency and balance of the sound, and the integration of the sound of the organ with the sound of the orchestra, this release is certainly top-notch. To my ears, I enjoyed not being overwhelmed by the sound of the organ; however, I believe that there may be some listeners who might wish for a bigger, more dramatic organ sound. To them, I can recommend the old Telarc with Ormandy and the Philadelphia Orchestra and Michael Murray at the organ. But to my ears, the sonic balance on this new Recursive Classics release is perfectly suited for the appreciation of this remarkable symphony. The organ takes its place as part of the music-making, not as the main attraction. 

 

In summary, what we have here is an audiophile-quality recording of a live performance of the Saint-Saëns “Organ Symphony” which does not highlight the organ but places it in balance with the orchestra. The CD booklet features an essay by David Patrick Stearns that offers some insights noy only into the Saint-Saëns work but also into the French symphonic scene in general. For fans of Saint-Saëns – or anyone just starting to get into classical music, for that matter – this release earns my highest recommendation.