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| Composer : | Saint-Saens, Camille (1835 - 1921) | ||||
| Instrumentation : | Winds & String Orchestra | ||||
| Style : | Romantic | ||||
| Key : | B♭ major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1887 | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 12 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. This quickstep concert march (op. 86) is reminiscent of the galops by Offenbach and other 19th century composers. Originally written for four-hand piano in 1887 and published in 1890, this transcription was made by Arthur Frackenpohl in 1972 and dedicated to Harry Phillips and the Crane Wind Ensemble at the State University at Potsdam, New York, where Frackenpohl became a member of the music faculty in 1949. The tempo of a pas redoublé varies with the proficiency of the performer(s) as well as the wishes of the composer and the customs of that period. Saint-Saëns defended technical virtuosity, because it was for him, a least partially, a gift. During the mid-19th century military units in some nations were marching to a cadence of about 90 steps per minute for the slow march (pas ordinaire), 120 for the quick march (pas redoublé) and 160 to 180 for the double-quick march pas de charge. Frackenpohl recommends a tempo of 144 for this march. 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 "Pas Redoublé" (Op. 86) for Winds (Flute, Oboe, Bb Clarinet & Bassoon) & Strings (2 Violins, Viola & Cello). Sheet central : | Pas redoublé en si bémol majeur (4 sheet music) | | |||
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