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Thèse présentée à la Faculté des lettres de Montpellier
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Camille Saint-Saëns was always trying to expand the rather sparse repertoire for chamber music for wind instruments, something that is not least also shown by his three late wind sonatas for oboe, clarinet and bassoon respectively (HN 964, 965, 966). The trombone also came into its own as a solo instrument with the Cavatine, composed in 1915. It displays here its lyrical, romantic side. To date the Cavatine, an effective recital piece, is a milestone in the solo literature for advanced trombone players. Our Urtext edition is the first to take into account also the autograph in Paris.
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EAN: 9790201811192
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After his first cello sonata of 1872 (HN 1057) had fast gained popularity, the publisher kept asking the composer to write a second sonata for this scoring. But it was only in March 1905, in the mild climate of Algeria, that Saint-Saëns finally relented and composed a large sonata with four movements. He personally thought it superior to the first sonata and even believed that its third movement, the “Romanza”; was an equivalent to the famous “Swan” in the “Carnival of the Animals” (HN 943). However, this work is still overshadowed by the first sonata, not least because the second places greater technical and artistic demands on cellists. Our Henle Urtext edition, the first text-critical edition of the work ever, now offers cellists a chance to rediscover this composition.
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The Oboe Sonata op. 166 was the first of three wind sonatas that Saint-Saëns wrote in his fi nal year. Throughout his life he had been more familiar with keyboard and stringed instruments, so the composer this time found himself in rather unfamiliar territory. Yet he instantly hit upon the infl ections and special characteristics of these instruments. To ensure that the parts refl ected the technical and tonal idiosyncrasies of each instrument, he asked advice of wind soloists of his acquaintance before publication. His Sonata op. 166 met with the highest approval of the oboist; a passage in a letter bears witness to this: “It went like clockwork”. We were able to consult the autograph for the first time for this Urtext edition.
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Originally planned only as a little duo for violin and piano, the composition grew into a sonata in autumn 1885. The first performances were more than disillusioning for Saint-Saëns, as the violinists came to grief with its virtuosic demands, in particular those of the finale. He told his publisher that it would be called “the hippogriffsonata”; implying that the violin part could only be played by a mystical figure. Since then the sonata has, by and large, lost its horrors and is now one of the best loved chamber music works by the French master, despite, or perhaps even because of its technical challenges. Our Urtext edition is the first to take into account all surviving sources for the work.
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The septet was composed in 1879/80, commissioned for the Parisian Chamber Music Society “La Trompette”. Saint-Saëns had, however, hesitated for several years to comply with the request by the founder, Émile Lemoine: “I could compose a concerto for you for 25 guitars, but for trumpet – impossible!” Not only is the instrumentation that Lemoine requested unusual – trumpet, string quintet and piano – but also its stylistic proximity to Baroque suites. The septet in four movements, which quickly became popular due to the catchy nature of the music, proved to be the forerunner of numerous works in a neo-baroque style and is now published for the first time in a critical edition.
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EAN: 9790201805849
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This "hit", the Elephant from "The Carnival of the Animals" for Double Bass and Piano, is one of the few double bass compositions attractive to learners and seasoned musicians alike, now appears in a Henle urtext edition for double bass in solo and orchestral tuning, with piano parts in F major and E flat major.
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The a-minor Concerto, is a true gem in the repertoire of great cello music. David Geringas provided the fingerings for this Urtext edition for which editor Peter Jost supplied a detailed preface. Johannes Umbreit has revised the composer's highly playable piano reduction to suit the needs of today's performers.
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At the beginning of the 1870s, Saint-Saëns displayed a particular partiality for the violoncello. He composed his first cello sonata in December 1872, immediately after having completed the first cello concerto. It was presumably directly after this that he wrote the “Allegro appassionato” for Cello and Piano op. 43 that also appeared in a version for orchestra three years later. We do not know why he wrote the work, but it is likely that after having written two weighty works for cello, Saint-Saëns wanted to write something “easier” that was also suitable as an encore. David Geringas kindly provided the fingering and bowing for the brilliant cello part.
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Following the sonatas for oboe and clarinet, the bassoon sonata is the last of the compositions for wind from 1921, the year of Saint-Saëns’ death. He did not have a chance to write the sonata for cor anglais he had planned. The humorous, technically not very demanding work hardly shows that the composer was not particularly well acquainted with the instrument. In a letter he admitted to his publisher that he had preferred to check a school to confirm the range of the bassoon at a high passage. However, trial runs with the subsequent dedicatee Léon Letellier went extremely well for both parties. The autograph was made available for the first time for the publication of our Urtext edition.
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This highly virtuosic concert piece, composed in 1863, is one of the works that Saint-Saëns wrote especially for his friend Pablo de Sarasate. The great violin virtuosos of the 19th century delighted their audiences with it – first the dedicatee himself, then later, most notably, Eugène Ysaÿe. “It’s a kind of fantasy waltz in the Spanish manner, enchanting in its effect”; wrote a music critic back in 1876. Today, this work is in the repertoire of all the great violinists. The Henle Urtext edition is the first-ever critical edition of this work. The solo part has been annotated by Augustin Hadelich.
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Camille Saint-Saëns composed his two Romances for Horn for two of the most respected French horn players of the time: Opus 67 in E major from 1866 is dedicated to Henri Chaussier; Opus 36 in F major from 1874 was written for Henri Garigue. Despite the illustrious recipients, they are not virtuosic showpieces but – as the term Romance suggests – short “Songs without words” that fully savour the typical romantic sound of the horn. Alongside the orchestral version, Saint-Saëns also prepared a piano accompaniment for chamber music performances. Due to the fact that they are not overly technically demanding the Romances are also suitable for advanced students.
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Camille Saint-Saëns composed his two Romances for Horn for two of the most respected French horn players of the time: Opus 67 in E major from 1866 is dedicated to Henri Chaussier; Opus 36 in F major from 1874 was written for Henri Garigue. Despite the illustrious recipients, they are not virtuosic showpieces but – as the term Romance suggests – short “Songs without words”. Alongside the orchestral version, Saint-Saëns also prepared a piano accompaniment for chamber music performances. The first editions even also had an alternative part for violoncello, on which our edition is based.
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This was the last concerto that Saint-Saëns wrote for his own instrument, the piano. Its subtitle has a dual meaning. Firstly, it was composed quickly in Luxor and Cairo in early 1896; and secondly, the composer incorporated elements of Egyptian and oriental music within it. He even wrote later that “The second movement is a kind of journey to the Orient, which in the episode in F-sharp even reaches the Far East. The passage in G is a Nubian love song that I heard sung by boatmen on the Nile”.
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At the beginning of the 1870s, Saint-Saëns showed a particular fondness for the violoncello. He completed his first cello sonata in December 1872, immediately after finishing his first cello concerto (see HN 711). The sonata is strongly reminiscent of Beethoven, not only due to the key of c minor but also predominantly on account of its gripping dramatic art. The exceptional position of this demanding, in parts highly virtuosic sonata was quickly recognised by the public and critics and so the work soon found its way into concert repertoire. Our Urtext edition takes all surviving sources into account – for the first time ever. Pascal Rogé and David Geringas kindly provided the markings for the piano and cello parts.
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Für alle grossen und kleinen Musik-Fans - der neue Titel der Erfolgs-Reihe! Tauche ein in eine magische Welt voller Musik! Hinter einer verborgenen Tür entdecken zwei Brüder ein geheimes Königreich, in dem alle Tiere sprechen, tanzen und können. In dieser märchenhaften Welt treffen sie auf Löwengebrüll, trötende Elefanten, anmutige Schwäne und weitere musikalische Tierporträts. Beim "Karneval der Tiere" wird die berühmte Musik Camille Saint-Saëns von liebevollen Illustrationen und einer aufregenden Geschichte begleitet. Nach Vivaldis "Die Vier Jahreszeiten" und Tschaikowskys "Der Nussknacker" und "Schwanensee" ist dies das neue Musik-Bilderbuch zum Hören mit 10 Soundmodulen und Informationen über den Komponisten und das Stück im Anhang. Dieses Buch wird klimaneutral produziert. Ausstattung: mit 10 Soundmodulen und Goldfolie auf dem Cover
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As with Schumann’s “Concert Piece for four Horns” op. 86 (HN 1138) Saint-Saëns’ “Morceau de Concert” was also composed with the idea of exploiting the technical possibilities of the new valve-horn mechanism. In this case, the French horn player Henri Chaussier provided the impulse. He had developed a novel “Cor omnitonique” and wanted to demonstrate the merits of his instrument with Saint-Saëns’ composition. Chaussier’s invention did not gain acceptance amongst horn players – although the “Morceau de Concert” did! The popular work with one movement is quite demanding technically; however, Saint-Saëns himself already suggested some abridgements and ossias to simplify the piece, meaning that also advanced pupils can venture to play it.
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It is said that Saint-Saëns was moved to write the main theme of his Havanaise by the crackling open fire at a hotel, while on tour in autumn 1885 with its subsequent dedicatee Rafael Diaz Albertini. We do not know whether, when writing the composition two years later, the Habanera (French Havanaise) with its typical two beat dance rhythms was an allusion to the Cuban origin of his violinist friend. At any rate, the composition was extremely well received from the very beginning both in its original form as well as in the orchestral version. Ingolf Turban kindly provided the bowings for the virtuoso violin part.
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Camille et les grands hommes - Livre. Découvrez des nouveautés, des coups de cœur, des avis d'internautes, …
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Numéro 301, Année 2016
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