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Track Listings
| Disc: 1 |
|---|
| 1. Piano Concerto No. 1 in D major, Op. 17 |
| 2. Piano Concerto No. 2 in G minor, Op. 22 |
| 3. Piano Concerto No. 3 in E flat major, Op. 29 |
| 4. Wedding Cake Valse-Caprice for piano and strings, Op. 76 |
| Disc: 2 |
| 1. Piano Concerto No. 4 in C minor, Op. 44 |
| 2. Piano Concerto No. 5 in F major, Op. 103 |
| 3. Rapsodie d'Auvergne, Op. 73 |
| 4. Allegro appassionato, op. 70 |
| 5. Africa, Op. 89 |
Product Description
Amazon.co.uk Review
Stephen Hough's recording of Saint-Saëns' piano concertos comes as no surprise: he is our leading champion of once-lost pianistic causes--Scharwenka, Sauer and Mompou being among the composers he has brilliantly committed to disc. For all his fame, Saint-Saëns is a harder cause to champion than any of the above, since his music really is at times mere padding. But what those who deride him fail to see is that the Muse also frequently perched on his shoulder, most notably in the Fourth Concerto with its lovely set of variations. They also miss the central point about his art, which reflected a rigorously anti-Romantic stance: "Art is intended to create beauty and character," he wrote. "Feeling only comes afterwards, and art can very well do without it." As the author of Hyperion's excellent liner-note rightly observes, it's ironic that Saint-Saëns ' anti-emotionality should have damned him in the eyes of critics, when Stravinsky's similar stance earned him accolades. Stephen Hough brings his customary grace and precision to bear in these unexpectedly interesting works, ably abetted by Sakari Oramo in the pit. Sometimes the composer paints intimate tone-pictures, sometimes he evokes vast waterscapes, but at all times Hough keeps you alert and on the edge of your seat. --Michael Church
Review
Poor old Saint-Saëns: he never quite seems to be taken seriously as one of the great French composers of the late 19th-century, and all you ever seem to hear is Carnival of the Animals or the Organ Symphony. You will sometimes come across the Second Piano Concerto, less frequently the Fourth... but it's over 20 years since anyone recorded all five of them. So what's wrong with 1, 3 and 5? If Stephen Hough is to be trusted (and I think he is!) absolutely nothing. The CBSO and Sakari Oramo seem just as convinced by these concertos, partnering Hough with sensitivity and passion - exactly the qualities he employs at the keyboard.
Hough's a rare virtuoso, capable of letting fly dazzling cascades, yet careful never to employ his phenomenal technique for its own sake. He's gentle, thoughtful, generous and committed - there's nothing selfish or insensitive about his interpretations, and these two cds of the Saint-Saëns Concertos plus Rapsodie d'Auvergne, Allegro apassionato and Africa are an excellent opportunity to reassess these undervalued works.
It's a strangely intimate recording, which manages not to sound like Symphony Hall in Birmingham at all, but then it does rather suit these performances.
At first glance it might seem strange that this admittedly outstanding set of these relatively under-appreciated concertos just walked off not only with the Concerto prize at the 2002 Gramophone Awards, but also the top prize: Disc of the Year. Strange, that is, until you've heard them for yourself. Go on, you know what to do...
Andrew McGregor - presenter of CD Review on Radio 3
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Most Helpful Customer Reviews
20 of 22 people found the following review helpful:
5.0 out of 5 stars
Sparkling performances by a master pianist,
By mscott7449@hotmail.com (Belfast, N Ireland) - See all my reviews
This review is from: Saint-Saëns: The Complete Works for Piano and Orchestra (Audio CD)
Like many lovers of the romantic French repertoire, I have been eagerly anticipating this release for some time. Hough amazes yet again with his effervescent touch and dazzling virtuosity - indeed, he seems to toss off these gems of the concerto repertoire with such nonchalant ease. How do his interpretations compare with the other leaders in the field, namely Roge, Collard and Biret? Consider all other versions well and truly trounced. Oramo and his merry band provide sterling support with a perfect feel for this music and a marvellous balance, thanks yet again to the Hyperion team. Without reservation, this is a great recording by one of the greatest pianists around. One expects accolades galore in days to come - take note, Gramophone!
4 of 4 people found the following review helpful:
3.0 out of 5 stars
Underrated music, overrated playing,
This review is from: Saint-Saëns: The Complete Works for Piano and Orchestra (Audio CD)
The Saint-Saens Piano Concertos are consistently engaging pieces that deserve to be heard more often. Full of wit, surprises, and not without drama either. They make great items both for concerts and on CDs. This recording, despite all the praise, is a bit disappointing. Hough is consistently fast and exciting, but lacks the sparkle, wit and charm that's essential for this music. The finale of No. 5, for example, is pounded out rather insensitively compared to the swagger of Jean-Philippe Collard or Pascal Roge. These two remain the top choices for these pieces. They play with more colour, sparkle and imagination than Hough, and they're much cheaper too. On top of that, Oramo's orchestral accompaniment for Hough pales next to Previn (for Collard) and Dutoit (for Roge).
This recording is by no means bad, but I really can't see any reason for buying it given that the above alternatives are both better and cheaper.
27 of 30 people found the following review helpful:
5.0 out of 5 stars
Music to lift the spirits,
By
This review is from: Saint-Saëns: The Complete Works for Piano and Orchestra (Audio CD)
These recordings are an unqualified success. Hough plays with complete understanding, allowing these works to sparkle and shine. He avoids bombast and in so doing, brings out the real strengths of these concertos.One thinks of Ravel rather than Liszt. And what a fine series they are! There is craftsmanship, refinement, colour, wit, and tenderness in all works. The 2nd and 4th are well known, but the first is a new delight for me, with a quite remarkable second movement. And why the 3rd has so often been dismissed as the weakest of the set is a mystery when it is heard in a performance as compelling as this. Full marks to Hyperion, Stephen Hough, Sakari Oramo and the CBSO. Anyone familiar with these concertos will delight in these new performances, and those investigating them for the first time are fortunate indeed! The concertos come with four short pieces for piano and orchestra, all well crafted and beautifully executed.
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