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| Composer : | Saint-Saens, Camille (1835 - 1921) | ||||
| Instrumentation : | Winds & String Orchestra | ||||
| Style : | Romantic | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1855-8 | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 15 May 2019 Camille Saint-Saëns was something of an anomaly among French composers of the nineteenth century in that he wrote in virtually all genres, including opera, symphonies, concertos, songs, sacred and secular choral music, solo piano, and chamber music. He was generally not a pioneer, though he did help to revive some earlier and largely forgotten dance forms, like the bourée and gavotte. He was a conservative who wrote many popular scores scattered throughout the various genres: the Piano Concerto No. 2, Symphony No. 3 ("Organ"), the symphonic poem Danse macabre, the opera Samson et Dalila, and probably his most widely performed work, The Carnival of The Animals. While he remained a composer closely tied to tradition and traditional forms in his later years, he did develop a more arid style, less colorful and, in the end, less appealing. He was also a poet and playwright of some distinction. Saint-Saëns was born in Paris on October 9, 1835. He was one of the most precocious musicians ever, beginning piano lessons with his aunt at two-and-a-half and composing his first work at three. At age seven he studied composition with Pierre Maledin. When he was ten, he gave a concert that included Beethoven's Third Piano Concerto, Mozart's B flat Concerto, K. 460, along with works by Bach, Handel, and Hummel. In his academic studies, he displayed the same genius, learning languages and advanced mathematics with ease and celerity. He would also develop keen, lifelong interests in geology and astronomy. Saint Saens actually wrote a number of works for Piano Duet either for two pianos, or four hands [meaning two players] at one piano. Written in 1855, but not actually published until about 8 years later (hence the slightly later Opus number), and not performed in public until a concert in about 1868, this short (6 minute) piece is aimed at the talented amateur. it requires some nifty but precise finger work (two things which Saint Saens as a pianist excelled in), which probably places it slightly above the performance capacities of a simple sight-read, but it’s certainly not as technically difficult as the Bagatelles Op. 3 which were written at the same time. The piece has two sections – both in G major. The first is a slow 9/8 air, which undergoes a few twiddly variants, without much modulation before concluding. It’s somewhat similar the slow movement from Mendelssohn’s Piano Sonata Op. 106. The second section is essentially a more rapid perpetuum mobile in 3/8 with whirling semiquavers in the top hands (occasionally rumbling down to the bottom of the keyboard), played in counterbalance to a more sedate tune in crotchets and quavers. There are a few rumpety-pumpety (say the words and you’ll get the rhythm) fanfare bits that carry you along to a fun and satisfying conclusion. Source: Allmusic (https://www.allmusic.com/composition/%C3tudes-6-for-pi ano-op-52-mc0002358821). Although originally composed for Piano (4 Hands), I created this interpretation of the "Duettino" (Op. 11) for Winds (Flute & Oboe) & Strings (2 Violins, Viola, Cello & Bass). Sheet central : | Duettino (2 sheet music) | | |||
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