MusicWeb International One of the most grown-up review sites around 2024
60,000 reviews
... and still writing ...

Search MusicWeb Here Acte Prealable Polish CDs
 

Presto Music CD retailer
 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider

new MWI
Current reviews

old MWI
pre-2023 reviews

paid for
advertisements

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews

TROUBADISC
Troubadisc Weinberg- TROCD01450

All Troubadisc reviews


FOGHORN Classics

Alexandra-Quartet
Brahms String Quartets

All Foghorn Reviews


All HDTT reviews


Songs to Harp from
the Old and New World


all Nimbus reviews



all tudor reviews


Follow us on Twitter


Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

REVIEW
RECORDING OF THE MONTH

Plain text for smartphones & printers


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical
All Naxos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews



all Bridge reviews


all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews


All Eloquence reviews

Lyrita recordings
All Lyrita Reviews

 

Wyastone New Releases
Obtain 10% discount

Subscribe to our free weekly review listing

 


Support us financially by purchasing this disc from

Camille SAINT-SAËNS (1835-1921)
Piano Quartet in B flat major (1875) [31.45] *
Piano Quintet in A minor (1854-55) [30.08] +
Barcarolle in F major (1897) [9.09] ~
Cristina Ortiz (piano)
Fine Arts Quartet (Ralph Evans (violin 1)*+; Efim Boico (violin 2)+~; Nicolò Eugelmi (viola); Robert Cohen (cello))
rec. Concert Hall, Performing Arts Centre, Purchase College, State University of New York, Purchase NY, 26-29 March 2012
NAXOS 8.572904 [71.12]

Surprisingly, recordings of Saint-Saëns smaller scale works - songs, chamber music and instrumental works - are still not exactly thick on the ground. That’s surprising considering their charm and accessibility. This new Naxos release is therefore most welcome.
 
The real gem here is Saint-Saëns’ gorgeously evocative Barcarolle - worth the cost of this CD alone. The opening cello material suggests the movement of the gondola’s oars while the piano emulates rippling waters before it breaks into romantic lyricism embroidered by the upper strings. More intense and more passionate material ensues and the waters become a little turbulent for a while; a lovers tiff, perhaps. Tensions soon ease, as the waters calm and the gondola passes peacefully by.
 
The equally accessible and charming Piano Quartet in B flat minor, considered to be a masterpiece of the chamber music repertory, is a sunny work. It is not far removed from the delicate, relaxed sound-world of Fauré. Its opening movement is beautifully lyrical, intimate but also outwardly optimistic. The second movement is, in contrast, more aggressive in tone with the piano’s opening chords pompous and assertive. The strings echo the mood but more mildly, then cheekily mock the imperious piano with mischievous chatter. The piano relaxes and there is fun for a little while before contrapuntal seriousness overtakes all. The quirky third movement starts merrily, all skipping and hopping with cadenzas for violin and piano. The finale is substantial and, unusually, significantly longer than any other movement. It contains material from the first and second movements and is optimistic and joyous. It has some extraordinary glissandi that are quite dizzying. The Fine Arts Quartet and the always reliable Cristina Ortiz deliver winning performances that are a joy to the ear.
 
The Piano Quintet was composed when Saint-Saëns was not yet twenty years old. It is a confident and assertive work presenting a big challenge to the pianist. The piano part is often cast in the role of a concerto solo instrument. The opening movement feels epic. It opens very affirmatively with strident piano chords. The strings’ contribution is more lyrical. The second movement moves from self-assertion to self-abnegation. It has a lovely hymn-like theme and, moves forward in reverent and quivering contemplation and supplication. The Third Presto movement carries straight on without a break. The mood now is one of merriment. Judging by the piano’s devilish runs and the strings’ shrieks something much less hallowed is being hinted at. The Allegro finale is led by a solemn cello into a long fugal theme that echoes the hymn-like material of the Andante.
 
A gorgeous programme of Saint-Saëns’ beguiling chamber music played with great authority and flair.
 
Ian Lace