“For hours after Jean-Philippe Collard had left Camille Saint-Saëns’ Fifth Piano Concerto a pile of shards on the Hollywood Bowl stage,” Alan Wealthy wrote in L.A. Weekly in the summertime of 1999, “I racked my brain trying — without success, as it happened — to think of a worse piece of music by a composer of renown.” In my case, I dismissed Saint-Saëns’ concerto, generally known as “L’Égyptien,” as “ridiculous” in The Occasions.
What have been we considering? Not in a different way from one another or from obtained knowledge about considered one of France’s as soon as most celebrated and fashionable composers. After he died at age 86 in December 1921, Saint-Saëns’ popularity went into regular decline. Debussy, Ravel and Satie led the early twentieth century French musical revolution, whereas “The Splendor of Saint-Saëns,” the title of Los Angeles Philharmonic’s Bowl program Thursday night time, represented perceived glib, outdated Romanticism.
Sure, Saint-Saëns wrote “The Carnival of the Animals,” correctly irresistible to youngsters, nice pianists (Martha Argerich, for one) and swanning ballerinas. However of Saint-Saëns’ in any other case huge output, solely considered one of his 13 operas (“Samson and Delilah”), two of his 10 concertos (the primary for cello and the second for piano) and his Symphony No. 3 (the final of his 5 symphonies, two of that are so little esteemed that they continue to be unnumbered) even have remained comparatively well-known. You might need surmised Thursday night time, when the Los Angeles Philharmonic carried out the “Bacchanale” from “Samson and Delilah,” the First Cello Concerto and the Third Symphony (“Organ”), that even these hits are now not a terrific draw. Attendance was noticeably smaller than at different L.A. Phil packages this summer season.
But Saint-Saëns’ popularity has, certainly, significantly modified over the previous quarter-century. He could have loathed French Impressionism and regarded Stravinsky’s “The Rite of Spring” the work of a modernist madman, however Saint-Saëns is more and more seen as a form of radical proto-Postmodernist. For all of his reactionary animosity towards “modern” music, he was a outstanding eclectic, who traveled extensively, significantly to the Center East, North Africa and Asia, absorbing musical traditions earlier than they grew to become Westernized. He hung out in Russia with Tchaikovsky. For all his lavish Romanticism, he was additionally a refined classicist, studied in classical literature and archeology. He had a scientific thoughts and was an achieved mathematician and novice astronomer.
As a child-prodigy pianist, organist and composer, Saint-Saëns was generally referred to as a French Mozart. He caught the eye of Berlioz and Liszt, each of whom have been appreciable influences. He was a wondrous and unapologetic melodist. He was open to a variety of affect, significantly falling below the spell of what he heard (and studied!) on his travels. He was a glamorous and authentic orchestrator who sprinkled glitter freely, though that got here to sound like kitsch to Alan and me in his piano writing for “L’Égyptien.”
A mix of scholarship, newly illuminating performances, the rediscovery of uncared for works and an unstuffy rage for eclecticism in our present musical tradition has now made Saint-Saëns not simply palatable however prescient. A superb new recording of the piano concertos by the younger pianist Alexandre Kantorow, with the Tapiola Sinfonietta, performed by his father, Jean-Jacques Kantorow, makes even “L’Égyptien” sound like a outstanding panache from a extra harmless time.
Latest recordings of “Ascanio” and “Le Timbre d’Argent” reveal a French opera composer of far better scope than beforehand imagined. Two new units of the 5 symphonies present additional revelations. Kantorow and the Orchestre Philharmonique Royal de Liège provide depth and aptitude. The opposite, with Cristian Macelaru main Orchestre Nationwide de France, is plainer. However the Romanian conductor occurs to be music director of the Cabrillo Competition, which was based by Lou Harrison, California’s nice melodist and eclectic. Like Saint-Saëns, Harrison, as he put it, unfold his toys over a big acreage.
Saint-Saëns, furthermore, did come to the Bay Space in 1915 for the San Francisco Symphony’s efficiency of his Third Symphony. Whereas there, he performed the premiere of his “Hail California,” written for grand organ and John Philip Sousa’s band, as a part of the Panama-Pacific Worldwide Exposition, which commemorated the opening of the Panama Canal.
The long-forgotten “Hail California,” which incorporates references to the “Marseillaise” and the “Star Spangled Banner” (there are not any recordings however it could actually discovered on YouTube) would have made a full of life addition to Thursday’s in any other case typical Saint-Saëns night. However this system was, nonetheless, properly designed to convey pleasure.
This was Paolo Bortolameolli’s final live performance because the L.A. Phil’s affiliate conductor. The Chilean conductor, who’s the music director of the Mexican youth orchestra Sinfónica Azteca, is himself an imaginative eclectic who final month led a diverse L.A. Phil Inexperienced Umbrella program on the Ford Theater, in addition to a live performance with Devonté Hynes.
Nonetheless, Bortolameolli, extra suave than showy, introduced a welcome sophistication to Saint-Saëns. The cello concerto begins with a dramatic A-minor chord within the orchestra, which seemingly startled an alarmed soloist. A second theme is a stunning melody, usually heard as a sigh of aid. Out of nowhere the concerto roams right into a world of fancifully skipping minuets earlier than returning extra forcefully to the start drama.
Cellists have a tendency to hunt, with highly effective expressivity, a theatrical narrative. There was, although, nothing startling about Bortolameolli and the younger Spanish cellist Pablo Ferrández. This was Saint-Saëns the cautious classicist, Saint-Saëns the stargazer; Saint-Saëns the traveler listening to others’ music, not expressing his personal ego.
Ferrändez’s tone grew gracefully stronger all through the efficiency, treating the concerto as a piece wherein he might observe his personal path of discovery. His tone is beautiful however he by no means exploits it for its personal sake. He produces pleasure by way of rhythm however retains that understated as properly, in order that the impression is that each one the magic is within the music.
These have been additionally strengths in Bortolameolli’s efficiency of the “Organ” Symphony. Saint-Saëns’ use of the organ is an oddity, however so is the piano, with two pianists who sit subsequent to the organ. The piano serves right here as an instrument of glitter, and Saint-Saëns wants 20 fingers for it to produce the right quantity.
It’s a great symphony — somber at first, skittish a lot of the time, dazzling more often than not. The organ is used within the incense-laden sluggish motion for its otherworldly low drones and its sensual dialogue with the strings.
The final motion is a spectacle. When you’re making an attempt out new loudspeakers for a house stereo, that is the motion to play to check bass and treble and ensure your amplifier has sufficient energy. It most likely doesn’t. The symphony is all however unrecordable, and it challenged even the Bowl’s monstrous sound system.
Bortolameolli had no methods up his sleeve. He let the symphony unfold, delightedly when that was the temper, sumptuously when that was referred to as for and, on the finish, magisterially relatively than brashly. The L.A. Phil takes to this sort of factor with ease. The Bowl much less so, Saint-Saëns’ ethereally poignant transitions seeming to be catnip to overhead plane. However no helicopter is a match for the Finale.
Whereas Bortolameolli now strikes on — a serious music director put up someplace appears all however sure — he’ll return to Walt Disney Live performance Corridor subsequent season for a Inexperienced Umbrella live performance.