Camille SAINT-SAËNS (1835-1921)
Music for Violin and Piano - Volume 3
Danse macabre, Op 40 [7:13]
Jota aragonese, Op 64 [4:18]
Le déluge, Op 45: Prélude [6:40]
Havanaise in E major, Op 83 [10:09]
Introduction et rondo capriccioso in A minor, Op 28 (arr. G. Bizet) [9:34]
Prière, Op 158bis [4:26]
Caprice andalou, Op 122 [11:27]
Samson et Dalila, Op 47: Printemps qui commence [4:27]
6 Études, Op 52 No 6. En forme de valse (arr. E. Ysaÿe) [9:00]
Fanny Clamagirand (violin)
Vanya Cohen (piano)
rec. 4-7 January 2021, Bibliothèque Littéraire Henry et Isobel Gotlin, Abbaye de Royaumont, France.
First recording: Samson
All arrangements for violin & piano by composer, except as noted
NAXOS 8.574314 [68:01]
I am a fan of Saint-Saëns’ music and here is the third in the Naxos series of his complete works for violin and piano. The first of the earlier two volumes was favourably reviewed here and featured the same duo in the first sonata and a host of smaller pieces. The second volume, which doesn’t appear to have been reviewed, contains the second recording of the sonatas with the Suite Op.16 (which was originally written for ‘cello), the unfinished early sonata and some other smaller works. I should also say that I’ve not heard either of those two CDs.
Saint-Saëns was an inveterate transcriber of his own works and the arrangements on this CD start with the well-known “Danse macabre”. This is usually encountered in the version for violin and orchestra but here it is in Saint-Saëns’s own version for piano and violin. There are differences between these two versions – the violin part is slightly changed (and made more difficult) and the piano part includes some rather interesting details which vary from a straight transcription of the orchestral accompaniment. Both instrumentalists’ music requires significant virtuosity and they deliver the work with aplomb.
The following work is a delightful little miniature, originally for orchestra and is based on the ubiquitous “Jota Aragonesa” used by Liszt - and many other composers - in his Rhapsodie Espagnol (S.254). The opening theme is stated, then subjected to interesting variations, leading to more Spanish-sounding music in the following part. This next section, with lots of pizzicato playing, and the piano with its complex arabesques, whizzes along and the stacks of repeated notes in the closing minutes are superbly played by both participants. It’s wonderful stuff, full of wit and good cheer and played here with requisite amount of sparkle.
The “Prelude” to the oratorio Le deluge (The Flood) exists in a version for full orchestra but Saint-Saëns also arranged it for violin and piano, as it appears here. It is initially a less difficult work than either of the preceding two and on this recording contains some beautifully nuanced playing. There is almost a Bachian feeling to some of the violin writing and the clever fugal passage around 1’15’’ further add to this atmosphere. This continues in fairly sombre vein until happiness emerges about four minutes in. There is a lovely, genial theme on the violin which is sensitively accompanied by the piano. This grows to a lyrical climax then the violin rises stratospherically to conclude the work. Both players respond to this music very well and deliver a fabulous performance of this rather splendid little work, which deserves to be better known.
The Havanaise is another popular work, again peppered with Spanish rhythms. The opening theme meanders pleasantly before some more virtuosic playing. After this, is a lovely little section where the violin plays an attractive tune with gentle piano accompaniment. This soon evolves into something more vigorous, then the opening music returns with added passages in thirds for the violin. The second half of the work contains some very beautiful writing for both instruments. The ending is surprisingly peaceful and restrained, however; the passages occurring in the lead-up to this are especially virtuosic and contain plenty of little black dots for both instrumentalists to contest with.
It seems odd that Saint-Saëns didn’t arrange his popular “Introduction and Rondo Capriccioso” for this combination of instruments. That task was completed by Bizet, whose own solo piano transcription of Saint-Saëns’s second piano concerto has to be heard to be believed. As with the “Danse macabre” transcription, there are little changes here and there which make this more difficult than the original version for both performers but none of this presents any issues for either instrumentalist and again, the work sparkles with wit and invention throughout. I particularly like the use of pedal at about three minutes, where the violin plays very high in its register while the piano holds a note in the bass. This is perfectly judged and I would think (although I’m not a violinist) very hard to bring off this well. There are a lot of repeated notes for both violinist and pianist here but soon the virtuosity gives way to a more relaxed central section where Ms. Clamagirand plays a more wistful tune with a great deal of feeling. This soon morphs back to the virtuosic opening theme and then goes on to develop in the way a rondo would be expected to do. The ending is suitably difficult with plenty of work for both piano and violin.
The following track (number 6) Prière, is a much later work, originally for cello and organ. The change from the fireworks in the previous piece to this could not be more pronounced. The playing here is calm and reverential and this little work comes across as pious and deeply considered. This is another work that firmly puts paid the myth that Saint-Saëns didn’t write deeply felt music.
We return again to a Spanish idiom with the Caprice Andalou, which was interestingly originally written for the instruments here and then later orchestrated. After a sombre opening, the mood becomes more cheerful. Most of the first minute of the work is slow and stately with little Spanish-sounding hints. This evolves into faster and more complex music full of “Spanishisms” and here there is some great violin playing here with a beautiful tone. The violin part sounds extremely difficult. The notes describe this as a poetic reverie- an apt description. The Spanish atmosphere really kicks in at about 4’30’’ and the violin part grows even more taxing before unexpectedly relaxing again. It’s almost like a series of Spanish tableaux joined and interleaving most cleverly. My favourite part of the work is towards the end (from 8’32’’), where the violin soars effortlessly above the piano part with some stylish Spanish-sounding rhythms for the piano – here, both instrumentalists are clearly enjoying themselves. Again, there is a lot of virtuosity here, gradually building to a completely crazy last few bars, packed with difficulties for both performers.
The penultimate track is a transcription of the aria “Printemps qui commence” extracted from the most famous of Saint-Saëns’ thirteen operas, Samson and Delilah, and it here receives its first recording. The vocal line is excellently transferred to the violin and Ms. Clamagirand’s singing tone works wonderfully.
The final track is Eugène Ysaÿe’s capricious arrangement of Saint-Saëns’s “Etude en forme de valse” taken from his Op 52 Etudes for piano. This is a balmy little work; the solo piano version is fairly well known and is well worth hearing (see review here). Ysaÿe gives most of the difficult right hand piano passagework to the violinist and beefs up the accompaniment to compensate. It requires a great deal of virtuosity to make this work sound like something and both performers have this in spades. The crazy opening (with added tremolandos for the pianist) comes across excellently and the bonkers waltz that starts at 0’49’’ is wonderfully phrased and controlled with some very sensitive accompaniment from Ms. Cohen. The more restrained central section is wonderfully played by both instrumentalists and the last third of the work is likewise perfectly judged. The mad writing for both the violin and piano is splendidly played by both soloists who clearly work very well together.
The notes are interesting and contain plenty of information about the works on the disc. The recording quality is excellent and the recorded sound is sympathetic; even when the violin is at the top of its register, there is no distortion. This really is a super disc – I shall definitely be buying the earlier items in this series as this duo clearly works extremely well together and plays with plenty of vigour and wit. I hope that there are some remaining works for this combination of instruments by Saint-Saëns hidden in an archive somewhere, so they can produce a volume 4 in this ongoing series.
Jonathan Welsh
