Saint-Saëns, Camille – Acentto – Viña del Mar

Danse macabre op. 40

Webmaster — Wed, 15 Dec 2021 21:25:33 +0000

En su poema sinfónico “Danse macabre”, Saint-Saëns retoma un poema de Henri Cazalis que ya había planteado como canción artística. Aquí el diablo da vida a los muertos tocando su violín. Aunque la obra orquestal tuvo una tibia acogida en sus primeras actuaciones, o incluso fue rechazada, en los años siguientes se hizo muy popular y famosa internacionalmente. De los innumerables arreglos y variaciones posteriores (por ejemplo, de Franz Liszt), destaca como particularmente exitosa la propia versión de Saint-Saëns para violín y piano.

La edición anticipada de Céline Drèze para un futuro volumen de la “Edición completa de las obras instrumentales de Saint-Saëns” es la primera edición académica moderna de esta célebre pieza. Esta edición de Urtext se basa en la impresión original de la versión de 1877, al tiempo que elimina sus numerosos errores tipográficos y anomalías basándose en el autógrafo.

El cisne del Carnaval de los animales

Webmaster — Wed, 15 Dec 2021 18:46:19 +0000

A few years ago we published the “Elephant” from the “Carnival of the Animals”. The curtain now rises for a further performance: the proud and elevated solo of the “Swan”. Charles-Joseph Lebouc organised the première of this work and also played the cello part. With the composer’s permission, he then adapted this sonorous romance, accompanied by two pianos in the original, for violoncello and one piano. We are presenting the first ever Urtext edition of this popular cello work. The second piano part is reproduced in small print, thus permitting a comparison of the two versions.

Havanaise op. 83

Tue, 11 Apr 2023 15:20:58 +0000

Esta obra virtuosa, basada en el ritmo de la habanera cubana, fue compuesta en 1887 y forma parte del repertorio estándar de concierto. Tras la exitosa edición Bärenreiter Urtext de Christine Baur del “Allegro appassionato” de Saint Saens (BA 9047), el editor presenta ahora la “Havanaise” en versión para violín y piano.

Esta primera edición crítica de “Havanaise” se basa tanto en la versión autógrafa del compositor para violín y piano como en la versión orquestada posterior. Mientras que la parte solista de la versión orquestal difiere de la versión para violín y piano, las variantes se muestran en la parte de violín como ossias.

El editor ofrece una introducción concisa e informativa (inglés/alemán/fr) sobre la historia y el proceso compositivo de “Havanaise”; un comentario crítico detallado (inglés) concluye esta edición de Urtext.

·
Einführung
·
Introduction
·
Introduction
·
Appendix:
·
Facsimiles
·
Bibliography
·
Version for Violin and Piano: Sources, Critical Commentary
·
Violin part of the version for Violin and Orchestra: Sources, Critcial Commentary

El carnaval de los animales

Webmaster — Wed, 15 Dec 2021 18:51:32 +0000

The Carnival of the Animals

Written in 1886 for a Mardi Gras celebration, Saint-Saëns’ best-known work consists of 14 pieces scored for flute/piccolo, clarinet, glass harmonica (tuned glass bowls), xylophone, two pianos, and strings. Playfully borrowing themes from other works—including his own—the composer paints delightful musical portraits of a lion, chickens, turtles, an elephant, kangaroos, and the immensely popular swan.

Allegro appasionatto, Op. 43

Webmaster — Wed, 15 Dec 2021 19:31:10 +0000

Allegro Appassionato for Violoncello with Piano Accompaniment op. 43

– La primera edición Urtext de esta importante obra.
– Página desplegable en la parte de violonchelo solista, por lo que no es necesario pasar página
– Incluye alternativas de articulación como “ossias“

Desde su estreno en 1873, esta obra ha ocupado un lugar importante en el repertorio del violonchelo. Es, por un lado, una composición corta y encantadora; por otro lado, igualmente importante, es su uso en la instrucción durante los primeros años de juego. Lo central aquí es la articulación del tema de apertura y sus diversas repeticiones yuxtapuestas con pasajes líricos que exigen la ejecución en legato.

La nueva edición académico-crítica de Christine Baur se basa en un examen exhaustivo de todas las fuentes, incluida la versión orquestal posterior de Saint-Saëns. La edición incorpora muchas alternativas de articulación para el solista, que están marcadas como «ossia» encima de la línea del violonchelo solista en esta versión para violonchelo y piano.

Esta importante nueva publicación ofrece a los violonchelistas no sólo una parte Urtext, sino también una con reverencias y digitación; Ambas partes tienen una página desplegable para que no sea necesario pasar página.

Sonata for Violoncello and Piano in D major

Webmaster — Wed, 15 Dec 2021 21:25:33 +0000

This first publication of the Sonata in D major is based on Bärenreiter’s Camille Saint-Saëns OEuvres instrumentales complètes. Although we know from correspondence that two complete autographs existed, only an incomplete autograph source containing the 1st movement and part of the 2nd movement, which breaks off, have come down to us. In his final work for violoncello Saint-Saëns juxtaposes highly rhythmical episodes with more poetic ones. These contrasts are reinforced by bold shifts of harmonic coloring and a highly inventive thematic development.These movements are destined to become standards for cellists.

Oratorio de Noël op. 12

Webmaster — Wed, 15 Dec 2021 21:32:52 +0000

Saint-Saëns was just 23 years old when he composed his “Oratorio de Noël” in 1858 in only twelve days. Edited by Christina M. Stahl, this choral masterpiece is now available in a comprehensive scholarly-critical Urtext edition.

In the Foreword (Ger/Eng/Fr), the editor explains the background to the premiere, explains the expansion of the work from six to ten movements as well as the composer’s multiple revisions. The Critical Commentary (Eng) meticulously records these revisions.

For the first time, valuable tips are provided for the Gallican pronunciation of the Latin text, customary in France until 1903.

The piano reduction is based on the contemporary arrangement by Saint-Saëns’ student Eugène Gigout.

·Vorwort

·Preface

·Préface

·Zur französischen Aussprache des Lateinischen/French pronunciation of Latin/Sur la prononciation francaise du latin

·Lateinischer Text und Lautschrift/Latin text and phinetic transcription/Texte latin et transcription phonétique

·Übersetzung/Translation/Traduction

·Prélude

·Récit et Choeur

·Air

·Air et Choeur

·Duo

·Choeur

·Trio

·Quatuor

·Quintette et Choeur

·Choeur

Morceau de Concert in f minor op. 94

Thu, 05 Jan 2023 18:47:06 +0000

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.

Conciertos para piano 2 y 4

Webmaster — Wed, 15 Dec 2021 18:36:56 +0000

Piano Concertos Nos. 2 and 4 in Full Score

Throughout much of his long, highly productive career, Camille Saint-Saëns (1835–1921) occupied a dominant position in French music. Admired for his masterly command of orchestration and high standards of form, style, and workmanship, Saint-Saëns wrote for the piano in an elegant, virtuoso style.
In this volume, pianists and music lovers will find authoritative full-score editions of two of the composer’s most popular piano concertos, works frequently performed since their premieres, and often recorded to this day: Piano Concerto No. 2 in G Minor, Op. 22, and Piano Concerto No. 4 in C Minor, Op. 44.
In the tradition of the great composer/pianists of his time, Saint-Saëns was the soloist for the premieres of both works in Paris: of No. 2 in 1868, and of No. 4 in 1875. The scores of these concert favorites have been reprinted from the authoritative editions published by Durand et Cie, Paris.

Reprint of the Durand et Cie, Paris, editions.

Conciertos románticos para cello (Schumann, Saint-Saëns, Dvoräk)

Webmaster — Wed, 15 Dec 2021 18:37:32 +0000

Great Romantic Cello Concertos in Full Score

Lovers of the rich burnished tones of the cello will appreciate the keynote of this volume: complete scores of three great romantic cello concertos brought together in one convenient source. Spanning the last half of the nineteenth century, the compositions reveal extraordinary lyricism, imagination, and individual interpretation of the concerto form.
The works in this volume are Robert Schumann: Cello Concerto in A Minor, Op. 129; Camille Saint-Saëns: Cello Concerto No. 1, Op. 33; and Antonín Dvořák: Cello Concerto in B Minor, Op. 104.
Generations of cellists and music lovers have savored these works for their unique qualities: the Schumann concerto for its ravishing interweaving of cello and orchestra; that of Saint-Saëns for solid musical craftsmanship; the Dvořák work for enchanting melodies and exceptionally rich invention. Now musicians can enjoy the felicities of each work, complete and unabridged, in this sturdy, attractive Dover volume.
Reprinted directly from authoritative editions, this volume offers not only great music but also the quality features that musicians have come to expect from Dover: clear reproduction of musical notation; ample space for analysis, notes, fingerings, etc.; glossaries of musical terms; and more. For playing or study, this inexpensive edition is a must for every serious cellist.

Partitura general.

Schumann’s ‘Cello Concerto in A minor, Op. 129.’

Saint-Saëns’ ‘Cello Concerto No. 1, Op. 33.’

Dvorák’s ‘Cello Concerto in B minor, Op. 104.’