Composer: Camille Saint-Saëns
Works: Piano Concertos Nos. 1-5, Africa Fantasy, Rapsodie d’Auvergne, Wedding Cake, Caprice
Performers: Angela Brownridge (piano), Hallé Orchestra, Paul Murphy (conductor)
Recording: 20-21 July 2000, 26 February 2001, Studio 7, BBC Manchester
Label: ASV QUICKSILVA CD QSS 262
The oeuvre of Camille Saint-Saëns is often characterized by its remarkable blend of elegance and technical prowess, qualities that have secured his position as one of the most significant composers of the late Romantic era. His five piano concertos, along with a selection of shorter works, reflect not only his virtuosic command of the piano but also a keen orchestral sensibility. This recording by Angela Brownridge and the Hallé Orchestra under Paul Murphy presents an opportunity to reassess these works, many of which have languished in relative obscurity compared to their more celebrated contemporaries.
Brownridge’s interpretation of the Piano Concerto No. 2, the most frequently performed of the set, is particularly noteworthy for its well-judged tempi and rhythmic clarity. The opening Allegro is dispatched with a healthy balance between lyrical expression and technical precision, yet one cannot help but feel that the finale’s tarantella lacks the requisite buoyancy that other pianists, such as Stephen Hough or Pascal Rogé, have brought to the piece. While Brownridge’s execution is commendable, it doesn’t quite reach the electrifying heights achieved by her peers, suggesting a slight hesitation in fully embracing the exuberant character of the music.
The less frequently performed concertos, particularly Nos. 3 and 4, benefit greatly from Brownridge’s fresh perspective. The Fourth Concerto, with its dual movements, showcases Saint-Saëns’ inventive orchestration and thematic development. Brownridge navigates the complex textures with an admirable sense of fluidity and grace, revealing the work’s inherent charm. The second movement, with its hauntingly beautiful melodies, is rendered with a sensitivity that speaks to the pianist’s understanding of the emotional landscape Saint-Saëns sought to convey.
Technical aspects of the performance are largely commendable, with Brownridge exhibiting a deft touch and a nuanced approach to dynamic contrasts. The Hallé Orchestra provides a robust accompaniment, their playing marked by clarity and precision. The engineering of this recording is bright and well-balanced, allowing the piano’s voice to shine without overwhelming the orchestral textures. Each instrument is distinct, a feat that enhances the listening experience, though some listeners might find themselves yearning for a touch more warmth in the overall sound palette.
The inclusion of shorter works such as the “Africa Fantasy” and “Wedding Cake” adds further value to this collection, allowing listeners to appreciate the diversity of Saint-Saëns’ output. These pieces are performed with charm and wit, though they lack the panache found in Hough’s recordings with the City of Birmingham Symphony Orchestra, which may serve as a benchmark for enthusiasts of the composer’s lighter fare.
This recording offers a substantial survey of Saint-Saëns’ piano concertos and demonstrates the composer’s remarkable ability to combine technical demands with lyrical beauty. While Brownridge may not yet surpass the interpretative achievements of some of her contemporaries, her performances are thoughtful and engaging, revealing the nuances of these works. The ASV set, with its generous selection and clear sound, stands as a valuable addition to the catalog of Saint-Saëns’ music, appealing to both seasoned aficionados and newcomers alike. The artistry encapsulated within these performances serves to remind us of Saint-Saëns’ profound belief in the elegance of form, harmonies, and melodic lines—principles that resonate throughout his concertos and beyond.
