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圣桑第3交响曲（管风琴）版本评论 [复制链接]

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沈甲米
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沈甲米

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  • 19720110
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  • 2004-06-04
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发表于 2005-03-22 13:57 |显示全部
CAMILLE SAINT-SAËNS
Symphony No. 3 "Organ"; also, organ works by Bach, Couperin, Franck, Gigout, Widor, Vierne, & Dupré

Michael Murray (organ)

Philadelphia Orchestra

Eugene Ormandy

Telarc- 60634(CD)



This was one of Eugene Ormandy's last recordings, made just before his stepping down as music director of the Philadelphia Orchestra. Nonetheless, the players turned in a handsome performance for their soon-to-be former chief, with rich, full string sound in the Poco Adagio and biting, brilliant brass in the opening Allegro and in the Finale. The Philadelphia winds sound especially piquant and lively throughout, particularly in the scherzo. It would seem the orchestra could do well enough without the conductor; Ormandy lends no special flair to the music but mainly keeps things tidy and fluidly moving. Ormandy's earlier Sony recording offers a higher energy level, with more driven tempos in the second movement.

However, the 1962 sound can't hold a candle to Telarc's remarkably clear and dynamic 1980 recording, the full range of which we are finally able to hear thanks to DSD technology. Listening to Ormandy's meticulous balances is to be reminded of what a masterful orchestral technician he was. The only drawback, and this almost always is the case in the Saint-Saëns Third, is the organ, which, though refreshingly recorded in the same space and time as the orchestra, sounds bright and over-reverberant, oddly lacking sufficient bass. In this respect, Charles Munch's 1959 RCA recording still holds the palm.

For the coupling Telarc has appended Michael Murray's Encores à la française disc, which offers an interesting and compelling program of organ music ranging from Bach to Dupré. The assembled works display the full range of possibilities of this magnificent instrument, as well as the technical prowess of Telarc's engineers. Play this one loud and you will feel yourself very present in Boston's sonically splendid Symphony Hall.
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沈甲米
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沈甲米

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  • 19720110
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  • 2004-06-04
2#
t T
发表于 2005-03-22 14:01 |显示全部

CAMILLE SAINT-SAËNS
Symphony No. 3 "Organ"
CLAUDE DEBUSSY
La Mer
JACQUES IBERT
Escales

Berj Zamkochian (organ)

Boston Symphony Orchestra

Charles Munch

RCA- 82876-61387-2(SACD)


Still the greatest recording of the Organ Symphony ever made, this latest remastering sounds even grander than the previous Living Stereo incarnation, with a more present and bass-rich organ making a positively cataclysmic experience out of the finale. I have to say, though, that I greatly prefer the two-track stereo mix to the three-track SACD, which strikes me as collapsing too much of the sound-stage into the center channel (with excessive focus on the organ, resulting in a jolting change of perspective whenever it suddenly cuts out). Neither the Debussy nor the Ibert were as brightly recorded, but the same observations apply. Munch's Debussy seldom has impressed me as much as his Ravel, well regarded though it is, and I find this La Mer a bit on the hum-drum side, with surprisingly ineffective climaxes at the ends of the outer movements (where is the tam-tam when you need it?). The Ibert, on the other hand, is as colorful and festive as anyone could want. So, although this is a bit of a mixed bag, it has the best Organ Symphony ever, and that's well worth the cost of admission.
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沈甲米
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沈甲米

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发表于 2005-03-22 13:59 |显示全部

CAMILLE SAINT-SAËNS
Symphony No. 3 "Organ"; Bacchanale; Prelude to Le Déluge; Danse Macabre

Gaston Litaize (organ)

Chicago Symphony Orchestra
Orchestre de Paris

Daniel Barenboim

Deutsche Grammophon- 474 612-2(CD)

This celebrated recording of Saint-Saëns' Third stands as one of the very few performances to challenge the acclaimed Munch/Boston version on RCA. It features playing of great panache (with a truly high-voltage finale), and if the strings in the first-movement allegro aren't as tidy as some, Barenboim more than compensates by taking the movement gratifyingly up to speed. The big question for most collectors concerns the remastering, and here I have to say that it strikes me as an unqualified success.

Many performances dub in the organ part separately, most disastrously in Karajan's Berlin/Notre Dame digital horror show for this same label, and it's usually not a very good idea. Here, however, is the exception that proves the rule. The organ at Chartres Cathedral not only sounds much better than its Paris counterpart for Karajan, but it has been very skillfully blended into the mix (and brought slightly more forward than in previous remasterings) and thus makes an excellent foil to the "take no prisoners" playing of the Chicago Symphony. Remastering also brings more back-to-front depth and a deeper, richer bass, thus reversing the tendency toward dryness that characterized the previous CD reissue on Galleria. Toss in the colorfully played and very well recorded couplings, and this remains a recording of choice and one that both deserves and sustains its status as a true "classic".
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