Saint-Saëns Piano Concertos Nos 2 & 4
View record and artist detailsRecord and Artist Details
Composer or Director: Camille Saint-Saëns
Label: EMI
Magazine Review Date: 7/1987
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: EL270552-4
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 2 |
Camille Saint-Saëns, Composer
André Previn, Conductor Camille Saint-Saëns, Composer Jean-Philippe Collard, Piano Royal Philharmonic Orchestra |
Concerto for Piano and Orchestra No. 4 |
Camille Saint-Saëns, Composer
André Previn, Conductor Camille Saint-Saëns, Composer Jean-Philippe Collard, Piano Royal Philharmonic Orchestra |
Composer or Director: Camille Saint-Saëns
Label: EMI
Magazine Review Date: 7/1987
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: EL270552-1
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 2 |
Camille Saint-Saëns, Composer
André Previn, Conductor Camille Saint-Saëns, Composer Jean-Philippe Collard, Piano Royal Philharmonic Orchestra |
Concerto for Piano and Orchestra No. 4 |
Camille Saint-Saëns, Composer
André Previn, Conductor Camille Saint-Saëns, Composer Jean-Philippe Collard, Piano Royal Philharmonic Orchestra |
Composer or Director: Camille Saint-Saëns
Label: EMI
Magazine Review Date: 7/1987
Media Format: CD or Download
Media Runtime: 50
Mastering:
DDD
Catalogue Number: 747816-2
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 2 |
Camille Saint-Saëns, Composer
André Previn, Conductor Camille Saint-Saëns, Composer Jean-Philippe Collard, Piano Royal Philharmonic Orchestra |
Concerto for Piano and Orchestra No. 4 |
Camille Saint-Saëns, Composer
André Previn, Conductor Camille Saint-Saëns, Composer Jean-Philippe Collard, Piano Royal Philharmonic Orchestra |
Author: Robert Layton
In discussing the Third Symphony in his classic study of French music from the death of Berlioz to the death of Faure the late Martin Cooper wrote ''the whole score breathes the high seriousness, the vibrating emotion and the faintly self-conscious showmanship'' of Saint-Saens art and went on to say ''his genius was literally superficial, in the sense that it was for the surface of things—for the fine cut of a melody, the thin but firm texture of good orchestration'', and that judgement applies equally well to the concertos. Collard plays them for all their worth and with such polish, exhilaration and bravura, that one is persuaded that this is music of greater stature than it is. The main rival is Pascal Roge on Decca with the same orchestra in the G minor (and the Philharmonia in No. 4) under Charles Dutoit, whose account of the solo part I described only recently as ''clean and elegant, and beautifully cultured''. Although my allegiance to the Decca remains unshaken, Collard with his greater dynamic range and panche makes more of this music, and he is superbly recorded too.'
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