Saint-Saëns’s “Organ Symphony” and Respighi’s “Fontane di Roma”

The Fontane di Roma established Ottorino Respighi’s reputation: a colourfully orchestrated symphonic poem in which he expressed the “sensations and visions” that four Roman fountains with their naiads and tritons had awakened in him. I Hear the Water Dreaming by Tōru Takemitsu, one of the most influential and internationally recognised Japanese composers, also explores water and visions. The poetic piece for flute and large (albeit sparingly used) orchestra was inspired by a painting that alludes to the Dreamtime myth of the Australian Aborigines.

The main symphonic work of the evening is Camille Saint-Saëns’s famous Organ Symphony, written in 1885/86 for the concerts of the Philharmonic Society in London. The venue of its premiere – the Royal Albert Hall with its large concert organ – probably inspired Saint-Saëns to use the magnificent instrument in his composition. In fact, the “queen of instruments” plays a significant thematic role here, although (like the piano, which is also required) it is not featured from the outset. Saint-Saëns remarked in a programme note on the special structure of the symphony, in which the four movements are each linked in two pairs, that he chose this form to “avoid endless recapitulations and repetitions”. And indeed, this monumental work with its hymn-like finale never bores the listener.

Berliner Philharmoniker

Kazuki Yamada

Emmanuel Pahud

Sebastian Heindl