"I strongly recommend this beautifully played disc of rare music, and don’t miss the original version of Danse Macabre..."  Robert Matthew-Walker, International Record Review
"The peformances are warmly affectionate, beautifully played and flattered by the rich-textured surround sound." Ivan March, Gramophone
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During a career spanning three-quarters of a century, Saint-Saëns in his   youth earned the admiration of Berlioz, yet he out-lived Debussy. Like so many   of the world's great composers, Saint-Saëns took to music almost from the   cradle. By the age of six he was writing songs and piano pieces and at ten he   was playing Mozart and Beethoven piano concertos in public. His prowess on the   organ led to an early appointment at the Church of the Madeleine, where he was   to occupy the post of organist for nearly twenty years. As a student he wrote   four symphonies, two of which received performances, and in the 1860s he turned   to the stage, although of his thirteen operas only Samson and Delilah has held a   place in the repertoire. 
Liszt's tone-poems inspired Saint-Saëns to produce a number of highly   colourful orchestral works of his own-Danse macabre being the most popular-and   his vast output included five piano concertos, in each of which he appeared as a   highly successful soloist. He was concerned to maintain the serious side of his   output and would have been horrified at the success of The Carnival of the   Animals, in his view a "private joke" which was not published in full until   after his death (only The Swan saw the light of day during the composer's   lifetime; it can now be heard in a specially-commissioned arrangement played by   the forty-strong London Cello Orchestra on Cala Records CACD0104). 
Saint-Saëns's own musical credo was summed up as follows: "The artist who   does not feel completely satisfied by elegant lines, harmonious colours and a   beautiful succession of chords does not understand the art of music." Although   not all his music reaches the heights of inspiration, many of the orchestral   works in particular are clearly scored by the hand of a master. 
 |  | 1 |  Saint-Saëns  |  Africa—Fantasy  for Piano and Orchestra, Op.89Gwendolyn Mok piano
 |   11:08 | 
 |  |  |  Saint-Saëns  |   Parysatis—Airs  de ballet  |  7:57  | 
 |  |   2 |  |  |  0:35 | 
 |  |  3 |  |  |  2:03 | 
 |  |  |  |  | 3:26 | 
 |  | 5 |  |  |  1:52 | 
 |  | 6 |  Saint-Saëns   |  La  jota aragonese, Op.64  |  3:45  | 
 |  | 7 |   Saint-Saëns  (arr. Luigini)  |  Samson  and Delilah—Grand FantasyGwendolyn Mok piano
 |  13:35  | 
 |  | 8 |   Saint-Saëns  |  Taranatelle for Flute, Clarinet and OrchestraSusan Milan flute, James Campbell clarinet
 |  3:56  | 
 |  | 9 |  Saint-Saëns  |   Sarabande for Violin and String OrchestraTina Gruenberg violin
 | 5:35 | 
 |  | 10 |  Saint-Saëns  |  Rigaudon  | 3:06 | 
 |  | 11 |  Saint-Saëns  |   Danse  macabre, Op. 40Anthony Roden tenor
 | 2:49 | 
 |  | 12 |  Saint-Saëns  |  Marche militaire françaisefrom Suite algérienne, Op.60
 | 4:20 | 
 |  | 13 |  Saint-Saëns  |   The  Muse and the Poet, Op.132 for Violin, Cello and Orchestra
 | 15:16 | 
 |  |   14 |  Saint-Saëns  |  Valse—Finale  from Ascanio  | 3:55 | 
 | TT:  77:46 |