ATMA 2331
Philippe Bélanger, organ
Yannick Nézet-Séguin
Orchestre Métropolitain du grand Montréal
I had difficulty to write about this recording because I am personally disappointed with the interpretation of Saint-Saëns. In part because the Montreal Metropolitan orchestra and ATMA have already several excellent recording to their credit including a splendid Mahler 4th . On my web site I prefer discussing only the recordings which I can fully recommend. I nevertheless decided to discuss this SACD because of the excellence of the 3 organ tracks at the end.
When I bought this recording I immediately put track 4 on, to hear the organ entrance at the beginning of what is traditionally called the third movement. This first contact was a great disappointment. The organ is very weak, and its image is almost ghostly at the back of the orchestra. In fact I would have expected the opposite problem, because I have heard organ recitals at Montreal St-Joseph Oratory in the past, and the combination of the organ and the immense cupola creates an unforgettable effect.
After having listened to the complete symphony several times, my initial impression was confirmed particularly because of the slow tempo and lack of energy in the first part of the first movement (track 1). I have a rule to always listen to every track on a recording (and several times), but it took me several weeks before listening to the 3 organ tracks at the end. Of course I expected the same feeble sound and fuzzy image. By the way the content of these 3 tracks ais not even mentioned on the SACD’s cover.
WOW my expectations were completely wrong! The organ sounds in exceptionally refined rich and complex. The image is fantastic and absolutely gigantic. At the front of the image there is a very good impression of the positioning of the various stops (often you can hear the different of heights between the different pipes). It is difficult to explain but the sound is so good that I surprise myself in trying to appreciate the selection of the different stops that the organist uses in the different segments.
The image gives a very good impression of the hugeness of the recording venue. In multi-channel there is a physical feel to the echo effects. Another astonishing characteristic of the recordings is that each notes of the organ remains very clear even in the fastest passages (which was not the case in the Saint-Saëns).
It is very strange that the sound take of the organ would be so fantastic in the 3 solo tracks and so weak in the 3rd Symphony with organ. I think there are two possible explanations. The first is an artistic choice of the conductor who decided to present the organ as if a member of the orchestra instead of a concerto instrument (and probably told the organ player to go soft). The second possibility is a technical problem of trying to record the orchestra in a clear way with the organ far away and much higher than the orchestra. Obviously a completely different recording arrangement was used for the solo organ.
I had another discussion with another audiophile friend who told me he had really appreciated the recording (having listened to the CD version). So of course he told me the multi-channel version was probably the issue! Ah another multi-channel skeptic! Obviously I do not think that any of the 3 versions (CD, SACD stereo and SACD multi-channel) have much to do with the choice of tempos by the conductor! But perhaps certain sound balance issues could have been minimized. So I listened to the beginning of track 1, 4 and 7 in each of the 3 versions (through a menu system I can force my universal player to play each version). I think the CD version misses many details and a lot of the color is lost (of course a universal player cannot compete with a no cost CD only player, that’s not my point). But I must acknowledge that in the SACD stereo version the balance between organ and orchestra is somewhat better. But in multi-channel the beginning of track 1 is much more moving, and for track 7 there is absolutely no comparison!
Track 1 Adagio-Allegro Moderato (10 :30)
The first movement starts with a crescendo at the strings with a good balance between the violins and the cellos. The oboe which sings immediately after has a beautiful bloom, and finishes with a held note which seems to disappear in the infinite. The beginning of the movement is ample and I would qualify the approach of quasi religious, which goes well with the recording venue. Just before the beginning of the allegro (1:00) there are string pizzicatos which support two bassoons which seem far away. There is excellent spatial separation of the instruments.
Unfortunately when the allegro begins things become much less clear, as if there were a haze to the sound. For example at 1:21 the strings fast passages are a bit fuzzy. Is it a question of acoustics which has made the recording difficult? A bit farther the same phenomenon is repeated at 1:52 where the winds sound out of sync with the cellos. With the first ff at 2:55 the image is full and very impressive with a good separation between the various sections (in other words the trumpets are very present but without overwhelming the strings).
Around 3:20 in spite of beautiful individual interventions it seems that the music is without life, there is no feel of a progression. Towards 4:10 there is a rise toward a climax at 4:25 but even that segment feels a bit metronomic, like a student that do an homework just because there is no choice. Here I will agree with Terence for saying that the huge recording venue perhaps harmed the cohesion of the orchestra. Also the tempo is an allegro moderato which here goes toward andante.
Arrived at the dynamic climax, there is splendid playing by the trombones. Unfortunately this is spoiled by the trumpets particularly toward the end where the last high note (4:57) seems (too) difficult to play. At 5:30 there is a softer section where woodwinds and strings exchange short interventions. This section sounds heavy, cold and repetitive instead of light and colorful. Again the lack of direction and impulse does not create continuity between the individual interventions.
It is similar around 6:30 where a rhythmic ostinato should create a feeling of power but it more a repetitive feeling which is created. Finally at 7:20 the energy created by the lower brass (trombones and tuba) makes me think that the problem of this recording may simply be that the venue favors lower frequencies.
At least the last section of this track which makes the transition towards the poco adagio and the first entry by the organ is very well done. Good support of the strings to the varied interventions of the soloist.
Track 2 Poco Adagio (10 :30)
Ah! Now that the things are slower it is much better. The organ enters softly in term of dynamic level, but of course fills the sound space like a gentle giant. But the integration of the image of the organ is a little strange, the organ is a bit like a ghost, it does not have a perceptible source. I would have preferred to hear it behind the orchestra, but with a clearer focus. At the beginning the organ supports an ample melody played by the violins. Like at the start of track 1, the approach creates an almost religious fervor which suits the music very well.
The main theme is taken again at 1:26 by a clarinet and a trombone. That seemingly odd combination works well here because the pitch and coordination between the two instruments is very good and they are well supported by the strings. This format is repeated again for another exposition of the theme which culminates (around 4:00) with the strings and the organ answered by the clarinet and the trombone. This whole section is my favorite in terms of the playing by the Métropolitain in this recording.
Towards 5:00 the strings repeat a short motif, unfortunately this section quickly becomes a bit repetitive, it misses expressivity. Towards 6:30 a more abstract sounding section with pizzicatos once again lacks impulse and drags the music down. Fortunately at 7:20 the return of the main theme sung by the violins and supported by the organ brings energy back to the music.
Already towards 8:20 while moving towards a conclusion through descending patterns once more the music becomes too heavy and disconnected. There is a very fine line between slowing down and losing the musical continuity. At the very end the organ is a little more present in a series of descending chords, repeated by the strings and then terminating with a last ascending arpeggio while slowing down even more. The tempo being already very slow one would say there was no energy left at the end.
Track 3 Allegro-Moderato – Presto (7 :18)
Because the pace is faster a closer sound take was chosen. It was probably a good solution despite the fact that the image is now a bit less wide. At the beginning, nice solid entry of the strings and good support by the tympani. At :25 intervention of woodwinds accompanied by the strings, the music does not lose its momentum. Up to 1:30 the tension goes up with multiple quick interventions of the various sections of the orchestra all well coordinated. This is followed by a passage where higher frequencies dominate with interventions by flutes, triangles, etc.
This is followed from 2:00 to 3:00 with a more melodic section while not slowing the fast tempo. Afterward a short section creates a bridge for the return of the main theme. At 5:10 we are already moving toward the conclusion of the movement, the slowed down theme is played by lower instruments and supported by a vibrant accompaniment of the higher strings and woodwinds. Then towards 6:00 a musical surprise, instead of coning back to the main theme for a triumphant conclusion, Saint-Saëns has selected a more lyrical conclusion sung by the strings. Towards 6:40 once again splendid oboe playing followed by a final reflective section that creates anticipation for the last movement.
Plage 4 Maestoso (7 :45)
Horrible! The Organ is so weak that immediately after the initial entry the cellos actually sound louder than the organ. It is not only a question of sound balance, but also the image of the organ is too fuzzy. In fact it sounds as if the organ has been recorded elsewhere and badly mixed with the orchestra. Obviously the whole idea of going to the Saint-Joseph Oratory was to achieve a better recording with a natural balance between the orchestra and the organ.
At 1:00 the organ plays a martial melody answered by the strings and brass, once again the organ sounds completely ridiculous compared to the orchestra. Again the strings sound as if they can overwhelm the organ. Nice energy of the whole orchestra at 1:30, and the rhythm is very solid. Unfortunately the organ must answer the orchestra (towards 2:00) and that creates a kind of hole in the music.
After a more lyrical passage with some beautiful interventions of the woodwinds, at 3:00 and 4:00 an energetic passage comes across really well. The music has a good pulse and focus which were absent in track 1. At 4:00 some brass heroics and once more the higher notes of the trumpet are not very elegant. On the other hand the trombones do very well just afterwards. At 5:30 good construction of a lengthy crescendo, this creates a good tension without excess. At 5:50 weird intervention of the trumpet that sounds almost like it is playing jazz. Good control of the conductor who builds up dynamics without falling into vulgarity. Good sound take of the cymbals at 6:30. Is there an organ somewhere? Difficult to say up to 7:10 where one can hardly guess at the organ which is playing a descending scale. The recoding creates a final insult by letting the last organ chord resonates and dissipates for several seconds, a bit too late to appreciate the organ.
As I described at the beginning I do not know if the balance problems come from an artistic choice or a technical difficulty? It would be easy to believe that the organ is not good or that the sound technicians are not able to record an organ. But fortunately the three last tracks prove the opposite. And these 3 tracks are the reason why I still highly recommend this recording.
Plage 5 Alexandre Guillmant: March on ¨Lift Up your Heads¨ by Haendel.
What contrast with the preceding track!. It is impossible to believe that this is the same organ, the same organist and recording venue than before. In a way I am thinking this is a kind of revenge by the sound wizards at ATMA to prove that yes they can record an organ properly. I will not repeat my comments at the beginning, but this SACD is closer to reproduce the majesty of an organ than I thought was possible with current technology. For a point of comparison I believe that this recording is a lot better than the SONOMA .
Another observation (perhaps influenced by the quality of the sound) is that I really like the work of young organist Philippe Bélanger. In particular he has a very good sense of rhythm, and he is able to vary the pulse while playing beautiful music without loosing coordination, nor making the listener loose touch with the music. I find his approach to these 3 virtuosic pieces to be very melodic, he really makes the organ sing. A good example is at the beginning of this track which is a long choral (approximately 2 minutes) well sustained with long flowing lines.
This is followed by a much more virtuosic variation with an excellent coordination between both hands and pedal, and good balance of all registers. I am always impressed by this kind of passages and marvel that organists have only 2 hands not 4! At 4:00 a small pause for a more pastoral passage, followed by a long rise (in speed and intensity) up to 5:00 interrupted by a short pause. 5:10 full sound (phew! no blown up amplifier) absolute richness of sound, just splendid. With a bit of experimentation (like turning off the sub, and/or playing with bass management) I was surprised to find that there is of course low bass energy, but the heart of the sound is more around 100Hz and it is my 4 QUADs and my center which have to do the work. Over this foundation is a whole cathedral of stops that fills the frequency spectrum and is controlled by the organist. The track terminates with a final chord which resounds lengthily (this time the effect is well deserved and exhilarating!)
Plage 6 Louis Vierne Bells of Westminster (7 :04)
Another contrast between the end of track 5 and the soft and sweet beginning of track 6, a bit like a lullaby. After a repeated motif in the high register, the median register is used to play slowly and majestically the familiar melody which I associate with London’s Big Ben. A fast research on the Internet and I realize that the official name for Big Ben is "bells of the palace of Westminster" and that the tones are extracted from Händel’s Messiah http://en.wikipedia.org/wiki/Westminster_Quarters. So our theme has only four notes!
The initial sound starts forwards (in fact far behind the main loudspeakers). Quickly with more stops the sound becomes fuller with the melody dead in the center, but we do feel the spatial differentiation of the different sets of pipes. And then with the reverberation coming form the back, once again the impression to be in an immense space is well presented. At 1:30 stops selection change and the melody comes from higher and closer to the listener. Towards 2:30 another variations where the right hand plays the theme and the accompaniment is on the left hand and the pedals. There is an ethereal quality to the sound and the happy listener floats carried by these musical waves.
After 3 :00 the familiar theme is played the pedals with two levels of arpeggios on top. At 3:50 contrast between the high register and the pedals which answers each other. Towards 4:10 a short transition in minor gives an impressionist feel to the music (we have just jumped over 2 centuries of music style) then we climb toward apotheosis at 5:10 with repeated huge chords. But is it really the summum? With an organ there is no limit (just a limit for the amplifiers!) and at 6:10 the sound still gets fuller for the conclusion.
Plage 7 Charles-Marie Widor (9 :37) Allegro Vivace From 6th Organ Symphony
I will try to explain my feeling of rapture for this last piece (OK OK I am trying to get back to reality….) by first explaining that Widor is not my favorite composer. There is a grandiloquent pompous aspect to his music which I can only take in small dose. But here the music goes down very well and my only regret is to have only one movement. Please ATMA gives us an all Widor SACD with Philippe Bélanger playing at the Oratory and recorded exactly like on this take. I must confess that I listened to this track at least 10 times in the last week (maybe my problem was not with Widor, but more with the organist(s) playing it without musicality)
The music starts strongly with a rousing romantic theme with complex rhythms, and I think the organist manages to extract the maximum of music and phrasing from the score. The melody is immediately repeated (~30.) with different stops but with as much musical energy. At 1:05 a first syncopated variation that sounds like an interrogation on the main theme. The melody returns again at 1:30 to answer back the implied question, At 2:10 a variation that start softly rapidly evolve into a kind of musical battle, again very good focus and clarity from the organist so that the listener never loose the pulse of this complex music. At 3:00 the main theme is back but with multiple change of stops (for example melody in the low register and accompaniment in the highs).
From 4:00 to 5:00 a long crescendo and at the top the main theme is hammered with huge repeated chords but it is too early to conclude, so things slow down and the melody is taken again at 5;30 in the form of a choral (making me think to a religious procession). Around 6:00 the music becomes softer but more complex in terms of speed and sheer amount of notes, a very virtuosic passage played brilliantly. The sound recording remains very clear and there no blur in the fast notes despite the vast acoustic space. There is a sense of delicacy and precision. At 7:20 deceleration and descent in the depths followed immediately at 7:30 by a flood of notes reminding the listener of the toccata (finale) of the 5th organ symphony. From 7:40 the floodgates are open, majestic sound that goes up and up in a series of glorious repetition until a last and slow exposition of the theme and a last chord held during long seconds. Shiver in the back and tears in the eyes guaranteed.
So of course trying to classify this recording is difficult. I explain my technical evaluation by combining a 3.5 for the Saint-Saëns, and 5 for the 3 organ pieces. A 2.5 for the interpretation of the Saint-Saëns but of course another 5 for the 3 organ pieces. This gives an average of 4.25 for the technical part and 3.75 for the musical aspect.
I must put this SACD back into my collection because I have just received THREE TACET recordings in one happy package!! All goes well in the kingdom of multi-channel. Do not worry, the reviews will soon follow!