| 3e Symphonie en ut mineur, op. 78 - Advanced Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5 SKU: BA.BA10303-01 Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01). ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann. The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.
I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.
You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...
No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.
On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:
Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.
As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.
It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.
When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.
In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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| The Rocky Road to Dublin - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, E...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Suspended Cymbal, Tambourine, Timpani, Tom-tom and more. - Grade 2.5 SKU: CF.YPS265 Composed by Ed Kiefer. Set of Score and Parts. Carl Fischer Music #YPS265. Published by Carl Fischer Music (CF.YPS265). ISBN 9781491163658. UPC: 680160922444. The Rocky Road to Dublin is a song written by Irish poet D. K. Gavan in the mid-nineteenth century for English music-hall performer Harry Clifton and tells the story of an Irish man leaving his hometown of Tuam in the county of Galway in Ireland to go to Dublin to make money. Because of the Great Potato Famine at that time, large groups of Irish folks left their hometowns looking for food and work. Thousands ended up in America, in particular, Philadelphia, where many made their way south through the Appalachian mountains, settling in southwest Virginia, western North Carolina and eastern Tennessee. As the Irish began their new lives here in America, they would often sing these songs, which would bring back fond memories of their homeland. Many old-time fiddle tunes can be traced to Irish music, including this song. However, their music changed as the songs were passed around through other cultures in the mountains, with new verses about their new lives. Often the tunes and lyrics made their way back overseas where they would change yet again, so there are many versions of these songs found in both Ireland and America. This setting is close to the original and can be found in both places. It gets to the heart of having to leave one’s home to seek a better life.This tune is a fun one and should be played with a lilt until m. 43. At this point, the original material is more legato, but returns at m. 59 in the alto saxophone. Let the percussion play on their solis, especially at the end where some of them answer the band motifs. The straight eighth notes (as at m. 29) will perhaps look difficult to younger players, but once they understand the concept, it will be a favorite part. Have fun! $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Rocky Road to Dublin [Score] Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, E...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Suspended Cymbal, Tambourine, Timpani, Tom-tom and more. SKU: CF.YPS265F Composed by Ed Kiefer. Full score. 20 pages. Carl Fischer Music #YPS265F. Published by Carl Fischer Music (CF.YPS265F). ISBN 9781491164051. UPC: 680160922840. The Rocky Road to Dublin is a song written by Irish poet D. K. Gavan in the mid-nineteenth century for English music-hall performer Harry Clifton and tells the story of an Irish man leaving his hometown of Tuam in the county of Galway in Ireland to go to Dublin to make money. Because of the Great Potato Famine at that time, large groups of Irish folks left their hometowns looking for food and work. Thousands ended up in America, in particular, Philadelphia, where many made their way south through the Appalachian mountains, settling in southwest Virginia, western North Carolina and eastern Tennessee. As the Irish began their new lives here in America, they would often sing these songs, which would bring back fond memories of their homeland. Many old-time fiddle tunes can be traced to Irish music, including this song. However, their music changed as the songs were passed around through other cultures in the mountains, with new verses about their new lives. Often the tunes and lyrics made their way back overseas where they would change yet again, so there are many versions of these songs found in both Ireland and America. This setting is close to the original and can be found in both places. It gets to the heart of having to leave one’s home to seek a better life.This tune is a fun one and should be played with a lilt until m. 43. At this point, the original material is more legato, but returns at m. 59 in the alto saxophone. Let the percussion play on their solis, especially at the end where some of them answer the band motifs. The straight eighth notes (as at m. 29) will perhaps look difficult to younger players, but once they understand the concept, it will be a favorite part. Have fun! $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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