“Like Chopin, Saint-Saëns wrote a substantial body of 'concert dance pieces' that I find completely captivating, full of wit, enchantment and musical ingenuity. For me, his 3 Mazurkas are the equal of Chopin’s brilliant works in this genre. His 'character waltzes', as I call them, are simultaneously 'concert waltzes' and character pieces; an original genre that I find consistently compelling and enthrallingly inventive. They also regularly go down unexpected avenues, such as the beautifully ethereal middle section of the Valse nonchalante, which are the greatest pleasure to play. Saint-Saëns' 'Souvenirs' are vivid musical travelogues of Italy and Egypt, and quite virtuosic. It has been enormously rewarding for me to perform and record such evocative tone poems.” — Geoffrey Burleson
Although he is best remembered for his orchestral and instrumental music, Saint-Saëns was also responsible for spearheading the revival of the French Baroque, especially the music of Lully and Rameau, as well as being perfectly placed to absorb the latest instrumental dance music. His five ‘character waltzes’ include the ethereal and ravishingly textured Valse mignonne, the stylistically forward-looking Valse nonchalante and the virtuosic Valse gaie, the composer’s final waltz for solo piano, while the three minor key Mazurkas are strongly characterised and filled with ingenious musical contrasts. Last but not least, the three ‘souvenirs’ are delightful evocations of particular corners of the world that inspired Saint-Saëns.
1
Gavotte in C Minor, Op. 23 (1871) (00:03:05)
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2
Mazurka No. 1 in G Minor, Op. 21 (1862) (00:03:32)
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3
Mazurka No. 2 in G Minor, Op. 24 (1871) (00:04:19)
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4
Mazurka No. 3 in B Minor, Op. 66 (1882) (00:05:19)
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5
Menuet et valse, Op. 56 (1872) (00:12:27)
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6
Valse canariote in A Minor, Op. 88 (1890) (00:05:28)
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7
Valse mignonne in E-Flat Major, Op. 104 (1896) (00:03:13)
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8
Valse nonchalante in D-Flat Major, Op. 110 (1899) (00:04:00)
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9
Valse langoureuse in E Major, Op. 120 (1903) (00:04:36)
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10
Valse gaie, Op. 139 (1912) (00:05:27)
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11
Une nuit à Lisbonne in E-Flat Major, Op. 63 (1880) (00:04:39)
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12
Souvenir d'Italie in G Major, Op. 80 (1887) (00:08:55)
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13
Souvenir d'Ismailia, Op. 100 (1895) (00:06:52)
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“Burleson has immersed himself in the entirety of Saint-Saëns output and is a powerful advocate for this music.” – American Record Guide
“Burleson’s performances are able and musicianly…” – Gramophone
“Overall, this is a superb disc played by a very talented pianist who is more than able to cope with the Saint-Saëns’ myriad technical details and colours.” – MusicWeb International
“…Burleson does a wonderful job of honoring the “dance roots” of these selections. …[He] plays as if he believes that there is more substance to what he is playing; and the attentive listener is likely to agree with him.” – Examiner.com
“The American pianist, Geoffrey Burleson, ideally mixes the passages of seductive beauty with those that are very busy, his playing always well detailed.” – David’s Review Corner