The piano works of Saint-Saëns are some of the forgotten gems in the pianist’s possible repertoire. Being that the composer was one of the finest pianists in the second half of the 19th century, not only is the music well written for the instrument, it is, at its best, some of the composer’s most finessed and engaging. The current program features pieces written throughout the composer’s career, from the virtuosic transcription of the concerto movement and the Thème varié…to the more lighthearted and neoclassical suite. In general, Saint-Saëns’s music necessitates a virtuosic technique; he requires the pianist to maintain lucid textures, careful pedaling, sparkling passagework, and meticulous attention to articulation. In general, Geoffrey Burleson does an admirable job handling all of the many inherent difficulties of this music…What feels right about this program, moreover, is that the pieces are arranged in a way that makes one feel that one is listening to a recital, rather than just a second installment of the complete piano works of this composer.

The hyper-virtuosic Allegro, op. 29, opens the program. The suite, while lighter in mood, contains some very fine moments, from the improvisatory-sounding Prelude to the lively and bouncy Gavotte. Burleson obviously relishes this little masterpiece. The real stars of this program for me, however, are the Thème varié and the fugues. Burleson does a fine job of maintaining a feeling of pulse throughout the entire op. 97, from the simple chorale theme to the more complex figuration in the variations…The pianist…describes the Six Fugues, op. 161, as “a suite of dynamic character pieces.” I couldn’t agree more. Though one can play them as simple academic etudes, whether studies in composition or instrumental technique, Burleson shows them to be true musical masterpieces, from the quasi-prelude first, through the sprightly and lively third, to the longest and climactic final one. Indeed, performing them as a set just makes sense here. And with performances of these fugues as engaging as the music itself, one can only hope that this release may spur more pianists to play this music…I am surely glad to add such a fine release to my collection. If you do not know this music, go out and grab this recording. Saint-Saëns is not one to disappoint. © 2012 Fanfare Read complete review

Burleson brings a commanding technique and cultured musicality to these works. He takes care to point up Saint-Saëns’s formal mastery and in this sense the two pieces transcribed from concert works are particularly impressive. He is also adept at polyphonic textures, and the fugues, some of which are far from easy, are poised and often charming. On the basis of written accounts and what little we can discern from Saint-Saëns’s own piano rolls, his playing was crisp, sec, flexible and precise. One of the challenges of Saint-Saëns’s piano music, it seems to me, is its sheer stylistic diversity.

SAINT-SAENS, C.: Piano Works (Complete), Vol. 1 (Burleson) GP601
SAINT-SAENS, C.: Piano Works (Complete), Vol. 2 (Burleson) GP605

‘Les cloches de Las Palmas’ is surprisingly haunting and evocative (though insufficiently so from Burleson) and the Toccata from the Fifth Piano Concerto provides a truly dazzling finish to the set.

For this attractively coherent follow-up Burleson has grouped together works of a Classical or Baroque orientation, colourfully re-imagined by Saint-Saëns in a more contemporary cast. Not all the items here are unremittingly virtuosic, but whatever the music, Burleson proves over and again he has the technique and poetic phraseology to make light of any and all complex passages. Moreover, unlike some, he possesses a delicacy of touch that prevents fortissimo or sforzando chords from ever sounding sledge-hammered.