New Releases

[JBS]

Having released much material i various smaller, composer specific, sets, compilations like these are becoming an increasingly hard sell, unless customers luke to fill their shelfs with imposing cardboard.

I've long since lost my appetite.

It doesn't help that often the sets are compiled from existing re-issued sets and/or omit less-recorded works that would actually appeal to would be buyers.
The Warner Saint Saens box f.i. omits a cello concerto, a lot of the solo piano works, the Christmas oratorio, and who knows what else, yet finds room under the rubric of historical recordings for recordings of Samson et Delilah and the full cycle of piano concertos even though the box already has stereo recordings of both.

[Mirror Image]

It doesn't help that often the sets are compiled from existing re-issued sets and/or omit less-recorded works that would actually appeal to would be buyers.
The Warner Saint Saens box f.i. omits a cello concerto, a lot of the solo piano works, the Christmas oratorio, and who knows what else, yet finds room under the rubric of historical recordings for recordings of Samson et Delilah and the full cycle of piano concertos even though the box already has stereo recordings of both.

One of the problems with the Saint-Saëns Warner set, besides the infamous glitch on one of the chamber discs (the disc with the Piano Quintet I believe), is that they don't have a Cello Concerto No. 2 in their catalogs (EMI, Erato, Virgin Classics et. al. apparently only have the the first Cello Concerto), so this is why that piece didn't appear in the set. The same with the Oratorio de Noël. So it's not a question of them neglecting to include these works, it's more of a question of if they had it in their catalog, then it would've been included. As for the historical recordings in the set, they weren't of particular interest to me, so I excluded them whenever I ripped this set.

[Karl Henning]

Mine as well.

+ 1

[JBS]

, is that they don't have a Cello Concerto No. 2 in their catalogs (EMI, Erato, Virgin Classics et. al. apparently only have the the first Cello Concerto), so this is why that piece didn't appear in the set. The same with the Oratorio de Noël. So it's not a question of them neglecting to include these works, it's more of a question of if they had it in their catalog, then it would've been included.

If true, given the number of labels whose catalogues they have rights to (Teldec is another one), that's rather astonishing.
Erato was a major French label, yet never recorded them?

[Mirror Image]

If true, given the number of labels whose catalogues they have rights to (Teldec is another one), that's rather astonishing.
Erato was a major French label, yet never recorded them?

Apparently, not.

[Spotted Horses]

If true, given the number of labels whose catalogues they have rights to (Teldec is another one), that's rather astonishing.
Erato was a major French label, yet never recorded them?

The great, well-recorded cellists such as Tortelier, Rostropovich, Fourier, du Pre, Piatigorsky, avoided the second concerto. It seems to have had a reputation as being unplayable. I read in the notes somewhere that the cello part is written on two staves, because the cello goes up into such high register. Seems like Lynn Harrell reintroduced it in his 1980's recording with Chailly for Decca, after which various cellists made competing recordings. (I think I will pass on it.)

[Mirror Image]

The great, well-recorded cellists such as Tortelier, Rostropovich, Fourier, du Pre, Piatigorsky, avoided the second concerto. It seems to have had a reputation as being unplayable. I read in the notes somewhere that the cello part is written on two staves, because the cello goes up into such high register. Seems like Lynn Harrell reintroduced it in his 1980's recording with Chailly for Decca, after which various cellists made competing recordings. (I think I will pass on it.)

Pass on the work or the Harrell/Chailly recording? Whatever your prerogative is, the Steven Isserlis/Eschenbach recording is absolutely top-drawer:



This recording is OOP at the moment, but since you've been into digital downloading, I'm sure you can find it somewhere. It's one hell of a recording.

[Spotted Horses]

Pass on the work or the Harrell/Chailly recording? Whatever your prerogative is, the Steven Isserlis/Eschenbach recording is absolutely top-drawer:



This recording is OOP at the moment, but since you've been into digital downloading, I'm sure you can find it somewhere. It's one hell of a recording.

I mean't I would probably pass on the concerto itself. It turns out I have a recording of it, Thedeen/Kantoror/Tapiola Sinfonietta, which I have not listened to. There are so many composers I find more interesting than Saint-Saens, this work is far down the list.

[Mirror Image]

I mean't I would probably pass on the concerto itself. It turns out I have a recording of it, Thedeen/Kantoror/Tapiola Sinfonietta, which I have not listened to. There are so many composers I find more interesting than Saint-Saens, this work is far down the list.

Ah, I see. I used to think the same thing about Saint-Saëns, but it turns out that I was dead wrong and he has slowly become a favorite of mine. He composed so much exquisite music. But you and I generally don't share many composers in common anyway. You've been listening to a lot of Lalo recently and honestly, I don't rate him as highly as you do.

[JBS]

Ah, I see. I used to think the same thing about Saint-Saëns, but it turns out that I was dead wrong and he has slowly become a favorite of mine. He composed so much exquisite music. But you and I generally don't share many composers in common anyway. You've been listening to a lot of Lalo recently and honestly, I don't rate him as highly as you do.

Interesting.
I find similarities in Lalo and Saint Saens, and I would have said those who enjoy Lalo would enjoy Saint Saens, and vice versa. [Caveat: I'm a lot more familiar with Saint Saens than Lalo.]

[Karl Henning]

Interesting.
I find similarities in Lalo and Saint Saens, and I would have said those who enjoy Lalo would enjoy Saint Saens, and vice versa. [Caveat: I'm a lot more familiar with Saint Saens than Lalo.]

I might have said much the same: I've listened to Lalo with more interest and enjoyment of late: notably the Symphonie espagnole and the vc cto in d minor.

[Mirror Image]

Interesting.
I find similarities in Lalo and Saint Saens, and I would have said those who enjoy Lalo would enjoy Saint Saens, and vice versa. [Caveat: I'm a lot more familiar with Saint Saens than Lalo.]

For me, Saint-Saëns strikes me as a major composer. Lalo does not. This isn't meant to discount Lalo, but only to show a preference for one over the other. There's a lyricism, rhythmic sparkle, color, memorability and harmonic fluidity in Saint-Saëns' music that I find rather alluring. I listened to a good bit of Lalo back in 2010 (or thereabouts) and I suppose I should plan a revisit of his music to see if my opinion has changed at all.

[Brian]

Just saw that Steven Isserlis is doing both Saint-Saëns concertos on a single program next spring with the Philharmonia Baroque in the Bay Area.

[Spotted Horses]

Interesting.
I find similarities in Lalo and Saint Saens, and I would have said those who enjoy Lalo would enjoy Saint Saens, and vice versa. [Caveat: I'm a lot more familiar with Saint Saens than Lalo.]

I don't find them that dissimilar. Both represent mainstream 19th century French orchestral and chamber music. Lalo produced a rather small number of major works, of which I count the symphony, cello concerto, the ballet Namura (spelling?) the Piano Trios, the Rhapsody, the orchestral scherzo. (I have not listened to the symphony espagniole and other works for violin and orchestra because I generally don't enjoy that genre). There is also a string quartet which I will eventually get to. Saint-Saens produced the 5 piano concerti and the first cello concerto, that are absolutely top notch in my opinion. I am vaguely aware of some violin concerti. At some point I will revisit the Violin and Cello Sonatas. Outside of that, Saint-Saens produced literally hundreds of works that I have trouble distinguishing from each other. Given the amount of time available to me, I don't find value in becoming familiar hundreds of works that sound rather undistinguished to me. I'm attracted to Lalo because he strikes me as a bit of an eccentric that only produced music when he had some unique idea. Saint-Saens ran a music factory.

In any case, I don't expect anyone to agree with me, but that is my perspective.

[Mirror Image]

I don't find them that dissimilar. Both represent mainstream 19th century French orchestral and chamber music. Lalo produced a rather small number of major works, of which I count the symphony, cello concerto, the ballet Namura (spelling?) the Piano Trios, the Rhapsody, the orchestral scherzo. (I have not listened to the symphony espagniole and other works for violin and orchestra because I generally don't enjoy that genre). There is also a string quartet which I will eventually get to. Saint-Saens produced the 5 piano concerti and the first cello concerto, that are absolutely top notch in my opinion. I am vaguely aware of some violin concerti. At some point I will revisit the Violin and Cello Sonatas. Outside of that, Saint-Saens produced literally hundreds of works that I have trouble distinguishing from each other. Given the amount of time available to me, I don't find value in becoming familiar hundreds of works that sound rather undistinguished to me. I'm attracted to Lalo because he strikes me as a bit of an eccentric that only produced music when he had some unique idea. Saint-Saens ran a music factory.

In any case, I don't expect anyone to agree with me, but that is my perspective.

I can certainly understand your points about Saint-Saëns, SP. He was quite prolific, indeed, but so were so many other composers before and after him. The chamber music of Saint-Saëns is what gave me some of the greatest surprises (not that I wasn't impressed with his orchestral music and concerti). I consider the Septet, Piano Trio No. 2, both SQs and the Fantasia for violin and harp to be masterpieces. Of course, there's the famous Le Carnaval des animaux, which, despite its popularity, is one of my favorite pieces of music ever. Stunning from start to finish. I'm just beginning to get familiar with his solo piano music, but have enjoyed what I've heard so far immensely. I won't even talk about his glorious vocal music as I know you're not a fan of any works with vocals.

[Florestan]

I can certainly understand your points about Saint-Saëns, SP. He was quite prolific, indeed, but so were so many other composers before and after him.

There's absolutely nothing wrong about being prolific.

[Mirror Image]

There's absolutely nothing wrong about being prolific.

Quite true. I was trying to agree with SP to make it look like I'm not disagreeing with him too much. I LOVE many prolific composers: Martinů, Villa-Lobos, Milhaud and, of course, Saint-Saëns.

[Brian]

I think a CSS detractor could do just fine with a three-disc collection of just the piano concertos and the late sonatas for woodwind instruments. Then Samson, Septet, string sonatas and trios, and that Christoyiannis/Alpha orchestral song recital could be in the next tier.

[ritter]

I think a CSS detractor could do just fine with a three-disc collection of just the piano concertos and the late sonatas for woodwind instruments. Then Samson, Septet, string sonatas and trios, and that Christoyiannis/Alpha orchestral song recital could be in the next tier.

I got the 34 CD Warner set, which means I have.....mmmm, let's see.....about 34 CDs too many of Saint-Saëns' music...

[Karl Henning]

I got the 34 CD Warner set, which means I have.....mmmm, let's see.....about 34 CDs too many of Saint-Saëns' music...

(* chortle *)