Saint-Saëns: Piano Concerto No. 2 in G-minor. II Allegro scherzando.

After feasting with Rachmaninov at a rather scrumptious banquet of Asian tonicity, we may want to jump on a beautiful Horse in the French countryside , say, in the Bois de Boulogne? Having taken in the delicious French Zephyrs we might be tempted to sleep. And sleep well. But instead we choose our repose in a cafe, joined by a warm croissant. Then a little romance, with white wine and some meringue, as Bizet plays on the radio. This would be a perfect evening. French culture relaxing the mind, and soothing the body.
Good night.

Todd A Harris
Saint Saens said that:
“The artist who does not feel completely satisfied by elegant lines, by harmonious colors, and by a beautiful succession of chords does not understand the art of music.”

In the Foreward to his book, “Outspoken Essays on Music”, he noted that of all animals but humans, birds sing. But that it was necessary for humans to appear on the stage of life before, “song, and subsequently, music, were forthcoming.”

With whisperings of early 20th century music already tapping conservatory walls, Saint Saens noted with some disdain that, even during his own time, over 140 years ago, the scope of the laws of music developed, up to that time, somewhat empirically, were “no longer sufficient; these very laws are being repudiated and looked upon as never having been in force at all, as ‘non avenues’…”

Andrei, I think your performance paints a beautiful French portrait, and you play it, as the composer used to say about his own process of music production, “as an Apple tree produces apples.” Showers on a Parisian riverbank park – I see Monet’s roses, with Seurat’s perambulators and parasols.

Andrei Gavrilov, play/conduct
Bristol Ensemble


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