Florent Schmitt was a student of Massenet and Fauré, and winner of the coveted Prix de Rome. His impressionistic style blends influences ranging from Debussy to Wagner, with references to Stravinsky and other contemporaries. Conceived as a ballet but revised as a symphonic poem, La Tragédie de Salomé depicts Salome’s dangerous seductiveness with subtle magnificence. Narrative symbolism also applies to the evocative word painting of the exquisite Musique sur l’eau. The perilous saga of Oriane et le Prince d’Amour contrasts with the poetic tapestry of orchestral colors in Légende, in a version that replaces the original solo saxophone with violin.
Gramophone Magazine February 2021
There’s no shortage of recordings of [La tragédie de Salomé], including excellent versions by Jean Martinon and Yan Pascal Tortelier, but Falletta’s version communicates the atmosphere, luxuriousness and power of Schmitt's score as well as any. The solo part [of the Légende] is performed by the Buffalo Philharmonic’s concertmaster Nikki Chooi with total conviction and assurance. Altogether a most desirable release.