Saint-Saens - Symphony No. 3 'Organ'
Los Angeles Philharmonic Orchestra | Zubin Mehta
Romantic | 1820-1910
Review No. 7
Cast in two spellbinding movements that sound more like four (and are indexed as four on this recording), this thrilling symphony casts a spell as bewitching as that in any fairytale. It has excitement, drama, romance and, ultimately, a happy ending. And like all great fairytales, the so-called “Organ” Symphony seizes the imagination and lingers on in it afterwards. Especially in a reading as magical as this by Zubin Mehta and the Los Angeles Philharmonic Orchestra.
Once upon a time …
Dawn. Mist hangs above a fen. Crossing it on horseback are a gallant prince and a small band of soldiers. They ride determinedly (T1-1:01) towards a dark castle set against an angry, red-black sky. There’s steely resolve in the prince’s eyes; thoughts of revenge behind them (T1-2:04) – and memories, too, of happier times with the princess (T1-3:19~3:39) whom he and his men are riding to free from the cruel sorcerer’s castle prison.
The theatrical first half of this symphony’s first movement sets the scene for what might be just such a daring, fabled rescue. Hurrying strings, defiant timpani and fearless brass (T1-4:15~4:33) threaten a bloody clash between the forces of good and evil (T1-6:34). Contrast this with the feminine mood of the movement’s second half. Soft organ chords cushion plaintive strings and woodwinds, as our princess remembers family, friends and the flowering of love.
Ferocious (and farcical) fighting
Inside the castle as the second movement’s first half gets into full swing, the prince cuts down the sorcerer’s malevolent hoards.
His men engage in comic battles like those in kids’ action-adventure movies (T3-1:37); the confusion giving the prince a chance to slip away and search for the princess – she characterised by a brief, less violent interlude (T3-2:14~2:30).
Frenzied fighting rages around the prince till he reaches the staircase (T3-5:20) leading to the castle’s tower. Nearing a room at the top, he hears the princess singing – her song represented by the strings alone (T3-5:57~6:30). What the prince doesn’t see, however, is the sorcerer hidden in a corner, poised to strike (T3-6:35).
Happy forever after
A ground-shaking organ chord announces the second movement’s conclusion (T4-0:00). In slow motion, the prince whips round to plunge his sword deep into the magician’s black heart. The spell is broken – the sorcerer exploding into a million tiny sparks (T4-0:28).
Sunlight streams in through narrow castle windows. The evil hoards, alive again, turn out to be enslaved villagers. The prince embraces his beloved. But is this really the end of the sorcerer (T4-3:02)?
This is, of course, all conjecture and fantasy. But no more fantastic than the many smaller climaxes that lead to the spectacular orchestral fireworks which bring this incredible symphony to a heart-pounding end. To make special mention of any single contribution by players or conductor in this recording would be plain wrong. Because this performance – like this symphony – is entirely enchanting.
