š Up to 70% Off Selected ItemsShop Sale
1 / 2
Saint-Saens: Piano Concertos / Descharmes, Soustrot, Malmo Symphony
Listen to the Naxos Podcast to learn more about this release
Soustrotās Saint-SaĆ«ns symphony cycle was quite good, and this new project looks to be similarly successful. For my money, the five piano concertos remain one of the most underrated groups of major works in the entire romantic repertoire. Yes, Nos. 2 and 4 get played more often than the rest, but there isnāt a dud in the bunch. Itās really only prejudice against the French aestheticāthe formal freedom, love of color, flash, and the danceāthat prevents the music from getting the recognition that it deserves. That, and perhaps the fact that the melodious ease that informs all of Saint-SaĆ«nsā writing makes a mockery of German pretensions to ownership of instrumental music in large forms.
These performances demonstrate a thoroughly āFrenchā sensibility. Romain Descharmes savors the musicās charm and brilliance without indulging in excessive sentimentality. The First Concerto, with its surprising wiring for horns, has a breezy freshness that completely disarming. Itās played with joyful directness and a complete lack of affectation. I enjoy fast and dazzling versions of the Second Symphony, with its whirlwind finale, but Descharmes treats the piece with almost epicurean relish, nowhere more so than in this sassy, witty account of the central scherzo. Thereās no lack of virtuosity, but also time to savor the musicās many harmonic delights.
Through it all, Soustrot accompanies with total confidence, and the sonics are terrific. A disc to savor.
ā ClassicsToday (David Hurwitz)
Soustrotās Saint-SaĆ«ns symphony cycle was quite good, and this new project looks to be similarly successful. For my money, the five piano concertos remain one of the most underrated groups of major works in the entire romantic repertoire. Yes, Nos. 2 and 4 get played more often than the rest, but there isnāt a dud in the bunch. Itās really only prejudice against the French aestheticāthe formal freedom, love of color, flash, and the danceāthat prevents the music from getting the recognition that it deserves. That, and perhaps the fact that the melodious ease that informs all of Saint-SaĆ«nsā writing makes a mockery of German pretensions to ownership of instrumental music in large forms.
These performances demonstrate a thoroughly āFrenchā sensibility. Romain Descharmes savors the musicās charm and brilliance without indulging in excessive sentimentality. The First Concerto, with its surprising wiring for horns, has a breezy freshness that completely disarming. Itās played with joyful directness and a complete lack of affectation. I enjoy fast and dazzling versions of the Second Symphony, with its whirlwind finale, but Descharmes treats the piece with almost epicurean relish, nowhere more so than in this sassy, witty account of the central scherzo. Thereās no lack of virtuosity, but also time to savor the musicās many harmonic delights.
Through it all, Soustrot accompanies with total confidence, and the sonics are terrific. A disc to savor.
ā ClassicsToday (David Hurwitz)
Listen to the Naxos Podcast to learn more about this release
Soustrotās Saint-SaĆ«ns symphony cycle was quite good, and this new project looks to be similarly successful. For my money, the five piano concertos remain one of the most underrated groups of major works in the entire romantic repertoire. Yes, Nos. 2 and 4 get played more often than the rest, but there isnāt a dud in the bunch. Itās really only prejudice against the French aestheticāthe formal freedom, love of color, flash, and the danceāthat prevents the music from getting the recognition that it deserves. That, and perhaps the fact that the melodious ease that informs all of Saint-SaĆ«nsā writing makes a mockery of German pretensions to ownership of instrumental music in large forms.
These performances demonstrate a thoroughly āFrenchā sensibility. Romain Descharmes savors the musicās charm and brilliance without indulging in excessive sentimentality. The First Concerto, with its surprising wiring for horns, has a breezy freshness that completely disarming. Itās played with joyful directness and a complete lack of affectation. I enjoy fast and dazzling versions of the Second Symphony, with its whirlwind finale, but Descharmes treats the piece with almost epicurean relish, nowhere more so than in this sassy, witty account of the central scherzo. Thereās no lack of virtuosity, but also time to savor the musicās many harmonic delights.
Through it all, Soustrot accompanies with total confidence, and the sonics are terrific. A disc to savor.
ā ClassicsToday (David Hurwitz)
Soustrotās Saint-SaĆ«ns symphony cycle was quite good, and this new project looks to be similarly successful. For my money, the five piano concertos remain one of the most underrated groups of major works in the entire romantic repertoire. Yes, Nos. 2 and 4 get played more often than the rest, but there isnāt a dud in the bunch. Itās really only prejudice against the French aestheticāthe formal freedom, love of color, flash, and the danceāthat prevents the music from getting the recognition that it deserves. That, and perhaps the fact that the melodious ease that informs all of Saint-SaĆ«nsā writing makes a mockery of German pretensions to ownership of instrumental music in large forms.
These performances demonstrate a thoroughly āFrenchā sensibility. Romain Descharmes savors the musicās charm and brilliance without indulging in excessive sentimentality. The First Concerto, with its surprising wiring for horns, has a breezy freshness that completely disarming. Itās played with joyful directness and a complete lack of affectation. I enjoy fast and dazzling versions of the Second Symphony, with its whirlwind finale, but Descharmes treats the piece with almost epicurean relish, nowhere more so than in this sassy, witty account of the central scherzo. Thereās no lack of virtuosity, but also time to savor the musicās many harmonic delights.
Through it all, Soustrot accompanies with total confidence, and the sonics are terrific. A disc to savor.
ā ClassicsToday (David Hurwitz)
$3.50
Original: $9.99
-65%Saint-Saens: Piano Concertos / Descharmes, Soustrot, Malmo Symphonyā
$9.99
$3.50Description
Listen to the Naxos Podcast to learn more about this release
Soustrotās Saint-SaĆ«ns symphony cycle was quite good, and this new project looks to be similarly successful. For my money, the five piano concertos remain one of the most underrated groups of major works in the entire romantic repertoire. Yes, Nos. 2 and 4 get played more often than the rest, but there isnāt a dud in the bunch. Itās really only prejudice against the French aestheticāthe formal freedom, love of color, flash, and the danceāthat prevents the music from getting the recognition that it deserves. That, and perhaps the fact that the melodious ease that informs all of Saint-SaĆ«nsā writing makes a mockery of German pretensions to ownership of instrumental music in large forms.
These performances demonstrate a thoroughly āFrenchā sensibility. Romain Descharmes savors the musicās charm and brilliance without indulging in excessive sentimentality. The First Concerto, with its surprising wiring for horns, has a breezy freshness that completely disarming. Itās played with joyful directness and a complete lack of affectation. I enjoy fast and dazzling versions of the Second Symphony, with its whirlwind finale, but Descharmes treats the piece with almost epicurean relish, nowhere more so than in this sassy, witty account of the central scherzo. Thereās no lack of virtuosity, but also time to savor the musicās many harmonic delights.
Through it all, Soustrot accompanies with total confidence, and the sonics are terrific. A disc to savor.
ā ClassicsToday (David Hurwitz)
Soustrotās Saint-SaĆ«ns symphony cycle was quite good, and this new project looks to be similarly successful. For my money, the five piano concertos remain one of the most underrated groups of major works in the entire romantic repertoire. Yes, Nos. 2 and 4 get played more often than the rest, but there isnāt a dud in the bunch. Itās really only prejudice against the French aestheticāthe formal freedom, love of color, flash, and the danceāthat prevents the music from getting the recognition that it deserves. That, and perhaps the fact that the melodious ease that informs all of Saint-SaĆ«nsā writing makes a mockery of German pretensions to ownership of instrumental music in large forms.
These performances demonstrate a thoroughly āFrenchā sensibility. Romain Descharmes savors the musicās charm and brilliance without indulging in excessive sentimentality. The First Concerto, with its surprising wiring for horns, has a breezy freshness that completely disarming. Itās played with joyful directness and a complete lack of affectation. I enjoy fast and dazzling versions of the Second Symphony, with its whirlwind finale, but Descharmes treats the piece with almost epicurean relish, nowhere more so than in this sassy, witty account of the central scherzo. Thereās no lack of virtuosity, but also time to savor the musicās many harmonic delights.
Through it all, Soustrot accompanies with total confidence, and the sonics are terrific. A disc to savor.
ā ClassicsToday (David Hurwitz)
