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Track(s) taken from CDA67713

Marche religieuse, Op 107

composer
Camille Saint-Saëns (1835-1921)
1897; possibly first performed and/or composed in November 1897 in Madrid at a private performace by the composer for Queen Marie Christine of Spain; published with a dedication to her in 1898

Andrew-John Smith (organ)
Recording details: September 2004
La Madeleine, Paris, France
Produced by Dick Koomans
Engineered by Dick Koomans
Release date: July 2008
Total duration: 4 minutes 46 seconds

Cover artwork: Interior of La Madeleine, Paris. Philippe Benoist (1813-c1905)
Musée de la Ville de Paris, Musée Carnavalet, Paris / Lauros / Giraudon / Bridgeman Images
 

Reviews

‘Saint-Saëns has an originality and charm all his own … Smith's warm and sympathetic rubato is a consistent delight, and his inspired choice to make the recording on an instrument played regularly by Saint-Saëns means that listeners can relish the authentic Gallic tones of the splendid La Madeleine organ’ (Gramophone)

‘Andrew-John Smith's reappraisal of Saint-Saëns' organ works is a real winner. The Trios Préludes et Fugues, three Fantasies and other works are performed with great sensitivity on the organ of the Madeleine … these pieces illustrate a remarkable synthesis of beauty and structure from France's most outstanding composer of the 19th century’ (Choir & Organ)

‘The charm and elegance of these preludes, fugues and fantasies … brilliantly played by the hugely talented Smith on the great Cavaillé-Coll instrument that Saint-Saëns knew’ (The Observer)

‘There are magical moments aplenty here … Smith is in a class of his own when it comes to compelling performances of these pieces. They are by far and away the best recordings of Saint-Saëns' organ music since Daniel Roth's three LP-set in 1982 … deeply compelling in their interpretative ardour and musical insight. What's more, there's even a touch of true flamboyance … any composer of integrity, neglected or otherwise, should be profoundly grateful for such compelling and persuasive advocacy as this’ (International Record Review)

‘The excellent performances apart, the main selling point of this disc is the opportunity to hear some of Saint-Saëns's organ works played on the very instrument for which they were composed—the magnificent Cavaillé-Col at La Madeleine, Paris … performed with flair and sensitivity by Smith who also contributes the excellent booklet notes’ (Classic FM Magazine)
In November 1897 Saint-Saëns gave a private performance for Queen Marie Christine of Spain at the church of San Francisco in Madrid. His short recital included the Rhapsodies, Op 7, the ‘mon cœur’ aria from Samson (transcribed on the spot) and a Marche religieuse. Whether this piece was written previously, was written specifically for this occasion or improvised here and notated later is unclear. In any event it was published the following year with a dedication to Marie Christine. This exuberant, powerful and elegant piece was one of two organ pieces that Saint-Saëns included in what is supposed to have been his last public recital, at the Salle Gaveau on 6 November 1913.

from notes by Andrew-John Smith © 2008

En novembre 1897, Saint-Saëns donna un concert privé pour la reine Marie-Christine d’Espagne en l’église San Francisco de Madrid. Ce court récital comprenait les Rhapsodies, op. 7, l’aria «Mon cœur» de Samson (transcrite sur place) et une Marche religieuse, dont on ignore si elle existait déjà ou si elle fut écrite pour l’occasion, voire improvisée et notée seulement après. En tout cas, elle parut l’année suivante avec une dédicace à Marie-Christine. Cette composition exubérante, puissante et élégante fut l’une des deux musiques d’orgue incluses par Saint-Saëns dans ce qui fut, suppose-t-on, son dernier récital public, à la salle Gaveau, le 6 novembre 1913.

extrait des notes rédigées par Andrew-John Smith © 2008
Français: Hypérion

Im November 1897 gab Saint-Saëns eine Privataufführung für Königin Marie-Christine von Spanien in der San Francisco-Kirche in Madrid. Sein kurzes Recital enthielt die Rhapsodies, op. 7, die „Mon cœur“-Arie aus Samson (aus dem Stehgreif transkribiert) und einen Marche religieuse. Ob dieses Stück vorher oder speziell für diesen Anlass geschrieben oder hier improvisiert und später notiert wurde, ist nicht klar. Wie auch immer, es wurde im folgenden Jahr mit einer Widmung an Marie-Christine veröffentlicht. Dieses überschwängliche, kraftvolle und elegante Stück war eines der beiden Orgelstücke, die Saint-Saëns in seinem vermeintlich letzten öffentlichen Recital im Salle Gaveau am 6. November 1913 programmierte.

aus dem Begleittext von Andrew-John Smith © 2008
Deutsch: Renate Wendel

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