In his review of the Blu-ray audio format of this disc, John Quinn went
into some detail on the Cavaillé-Coll organ used in these recordings. As he
indicated, it is likely the “star” of this particular enterprise. I will
concentrate on the performances and recorded balance between organ and
orchestra on this conventional CD.
I found that much to my surprise
Danse macabre works very well on
the organ, especially as performed here on the mighty Cavaillé-Coll organ in
the Lyon Auditorium. Indeed, it is suitably spooky, something to put on
during Halloween or in a haunted house. It would have been good, however, to
follow this on the CD with the original, orchestral version. Slatkin and his
Lyon orchestra would probably have worked wonders with that warhorse and
there is plenty of room left on the disc. Vincent Warnier’s performance here
does not sound at all bombastic, as many orchestral accounts do.
Cyprès et Lauriers is a rather strange work with its contrasting
parts sounding like two separate and unrelated compositions.
Cyprès
for organ alone has a funereal tone. As Claire Delamarche indicates in the
notes to the CD,
Cyprès is a lament and could be played separately
at funerals. Saint-Saëns gave few registration details, leaving much up to
the performer. Warnier varies the registration a great deal, which results
in a very listenable piece that otherwise might seem too dour.
Lauriers, on the other hand, is a celebratory tribute to the Allied
victory in World War I. It is colourful and contains fine brass writing,
including extensive horn and trumpet solos. It may not have much depth, but
certainly fulfills its role as an occasional piece. Slatkin, the orchestra,
and organist keep things light and breezy and turn in as good a performance
as one is likely to hear. It would fit well on a programme with Barber’s
Toccata Festiva and Richard Strauss’s
Festival
Prelude.
The main attraction on this disc, though, has to be the Symphony No. 3.
Along with the
Carnival of the Animals, it is the composer’s most
popular work—and deservedly so. It may be big and splashy, but its French
sensibility keeps it from going over the top if it is performed as it is
here. My favourite version until now has been the old Boston Symphony
recording with Charles Munch (RCA Red Seal) (
review ~
review ~
review ~
review). That one still packs a wallop while not slighting the finer,
subtler aspects of the symphony. In some ways this new one is similar in
approach to Munch’s. Slatkin and the Orchestre National de Lyon give of
their best to the lighter aspects of the piece with very clear instrumental
detail, especially apparent in the
scherzo section of the second
movement. There is much delicious woodwind detail present and the piano
ripples come through well in this movement. Yet, when the organ enters, it
makes a magnificent sound and leaves little to be desired as the work comes
to its mighty close. The balance throughout is exemplary, without the organ
overpowering the orchestra. To achieve the full effect of the recording, the
volume level needs to be raised considerably—particularly compared with the
Munch recording. Munch was known for making the Boston Symphony a “French”
orchestra and the comparison still stands, as the Orchestre National de Lyon
is the real thing. Technically, both orchestras are excellent. In the latter
part of the final movement, however, Munch’s brass gets a bit raucous and
some notes are fluffed in the solo horn part. In this regard, Slatkin’s
orchestra is superior. I still have great affection for the Munch recording,
but am glad to have Slatkin as a modern alternative.
Leslie Wright
Previous review (BD-A):
John Quinn
