Saint-Saëns: Symphony 3 'Organ' & Urbs Roma

 

Chronologically, the early symphony Urbs Roma lies betwixt Symphony 1 & 2. 

Quite frankly, I don't hear the Roman influence in this music. Thus, any academic proclamation that the title was procured purely for purposes for Saint-Saëns to abide by a composition competition's rules, would not surprise me one mite.

Urbs Roma is a long work, here nearly 40 minutes in length. Despite adjectives such as melody-laden and well-structured, I find little memorable about its music.

I think one of the issues is there are no slow movements. Only a bookended Largo introduction in the first movement bears a slow tempo marking.

Even the third, slow-movement position is set at Moderato (the fast Scherzo appears in the 2nd movement). The third is probably my favorite portion of the symphony, where Saint-Saëns juices the most drama from this section, here in a minor-keyed march. I will admit its slidey motions make me a little seasick, but generally I appreciate its contrast. 

I suppose this angsty penultimate movement allows the composer to set a rather moderately-paced final movement, one which is rather sweet and swooning, put through a handful of variations, ending on a rather intimate note. This is very different from his other symphonies, where the composer usually brings out the full force of brass and percussion to close out his music.

Otherwise, the composition is again rather conservative, yet fully Romantic, much along the lines of Mendelssohn or Schumann. Best of all, French conductor Jean-Jacques Kantorow doesn't dwell unnecessarily on any part of Urbs Roma, allowing the music to bask in its finest light, I think. Certainly the BIS sonics, of which I exulted in the previous entry (BLOG), balances the sound of the orchestra ideally.

But if anyone is reading about this recording, you probably want to hear the famous Symphony no. 3 in C minor. This work was a later-career composition, finding the composer much more adept at a large-scale symphony, full of Romantic fervor. Talk about melodies and motivic development; this music is a masterclass in effective management of musical materials. Compared to the four earlier symphonies, one can sense a large leap forward from the composer, but a stamp of 'masterpiece' swallows the earlier works into minor creations. 

Of course, it is the presence of a pipe organ which attracts most listeners, although I will note Saint-Saëns only writes the title of the work as 'with organ'. This aspect is important for this particular recording, for Kantorow and the BIS engineers attempt to make the organ heard within the tapestry of the orchestra rather than as a sensational soloist spotlight. This might irk some listeners who want that razzle-dazzle from this music, but it is an approach much in line with a certain French sensibility, methinks.

I have enough recordings of the Third Symphony to greatly appreciate a different approach, but for those who want one recording to stand above all else, I don't know if they would be pleased here. Certainly, the pedal-notes of the organ are extremely subtle here, although the sound of the organ from the manuals are otherwise captured clearly. 

Certainly Kantorow takes a forward-moving approach in the first halves of each of the two movements. Contrastingly, he wields a beautifully-paced second section (mvt. 1), but a moderately-moving final section (mvt. 2), at least until the final accelerandos where the conductor gallops ahead. The BIS sonics clearly bring forth all of the colors from Saint-Saëns exquisite score wonderfully, including a few scalular figures from the piano, plus a passel of brass and percussion to end the symphony on a high note.

As a bit of first-world complaining, BIS has divided Symphony no. 3 across three tracks. The work is a two-movement symphony, thus I could see two tracks; each of the two movements are divided into two large sections as well, so I could also see four tracks. Three tracks, though... ? Hmph...

So, what of Kantorow's set of symphonies of Saint-Saëns. Putting the final famous symphony aside, I think this is exactly how I want to hear the composer's early symphonies. No nonsense, forward-moving, joyous traversals of rather conservative symphony settings. I love the balance of winds to strings especially, creating a fresh, bright sonic palate in these works.

How important the Third Symphony is as a pipe-organ powerhouse will depend on the individual listener. I was not disappointed, but knowing Kantorow and BIS are leaning into the 'with organ' rather than "WITH ORGAN!' will need to be an important distinction when approaching this performance.

 

 

 

 

Works
Urbs Roma, R. 163 (39.11)
Symphony 3 in C Minor, op. 78 (34.37)

Soloist
Thierry Escaich, organ

Ensembles
Royal Philharmonic Orchestra of Liège
Jean-Jacques Kantorow, conductor

Label: BIS
Year: 2021
Total Timing: 74.24

 

 

 

 

I doubt anyone will call Urbs Roma their favorite Saint-Saëns symphony, despite its inherent beauty and charms.

So too, while I appreciate Kantorow's different approach to the composer's famous Third Symphony, I doubt it will be a favorite of mine, at least for now.

 

 

 

 

 

 

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