The 19th century is habitually referred to as a time of Romanticism. There was such a diversity of playing during this entire century that, with casual probing, one can find traces of every imaginable playing style. Modern listeners ought to warm to Saint-SaÎns, as he was puritanic in his insistance that the hands stay together, that rubato and dynamics be carefully measured. It is extraordinary that he was recorded extensively for his time: at least half an hour survives of his playing. One hears a finger technique, touch and phrasing that goes back to Kalkbrenner, thus representing an approach from before Chopin's time. The most important document of his art is to be heard in the cadenza to his Second Concerto. While Leopold Mannes described him as "a dry well", it was a deep one and well built. He enjoyed playing Mozart's D minor Concerto, K. 466; what a shame that wasn't documented. As all of his recordings were of his own compositions, they remain a great insight into the appropriate playing style his music commands. Saint-SaÎns' use of rapid tempi is another reminder of how the creator's themselves played faster than their successors, as the music was quite alive
© Allan Evans, 1996