Camille Saint-Saëns - Complete Sonatas (Various Artists)

Information

Composer: Camille Saint-Saëns

• Violin Sonata No. 1 in D Minor, Op. 75
• Berceuse in B-Flat Major, Op. 38
• Violin Sonata No. 2 in E-Flat Major, Op. 102
• Triptyque, Op. 136
• Cello Sonata No. 1 in C Minor, Op. 32
• Cello Sonata No. 2 in in F Major, Op. 123
• Bassoon Sonata in G Major, Op. 168
• Romance, Op. 67
• Oboe Sonata in D Major, Op. 166
• Romance, Op. 37
• Clarinet Sonata in E-Flat Major, Op. 167
• Caprice sur des airs danois et Russes, Op. 79

Mauro Tortorelli, violin / Angela Meluso, piano

Andrea Favalessa, cello / Maria Semeraro, piano

Akanè Makita, piano / Soloist of the Accademia di Santa Cecilia Rome

Date: 2025

Label: Brilliant Classics

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A unique collection of the instrumental sonatas by Saint-Saëns, in recent and critically praised Italian recordings.

The perfection of Saint-Saëns’s craftsmanship and the Gallic grace of his seemingly inexhaustible melodic muse were evident from early on in his career, composing as he did in childhood. No less evident was his faith in traditional forms such as the sonata. The works compiled here were composed over the course of half a century, during which time the world and musical culture evolved radically. Saint-Saëns evolved too, but only according to the principles to which he held faith – in tonality, in melodic elegance – throughout his long life and career.

In fact the composer was already 37 when he wrote the earliest piece here, the First Cello Sonata, in 1872. It does not seek to emulate the crowd-pleasing brilliance or wit of many of his best-known works but instead plots a dark, dramatic and often Beethovenian course through the conventional three-movement span. Compiling these sonatas in this way helps us to appreciate how, by the time we reach the First Violin Sonata of 1885, Saint-Saëns had begun to integrate competing imperatives of intensity and elegance.

It is curious that the composer’s later violin and cello sonatas have never achieved the popularity of his initial essays. Indeed, these Brilliant Classics recordings almost have the field to themselves in the catalogue. Yet they are surely underestimated, because Saint-Saëns had an almost endless capacity for reinvention – as he conclusively demonstrated late in life with three-fifths of a planned project to write five sonatas, all for instruments of the woodwind family. The instruments in these three works are scored for by the deft hand of a composer with a lifetime of experience writing for them in orchestral and chamber music settings.