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previously unpublished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?<
/p>
MUSICOLOGICA
LLY 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
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Clarinet or Trumpet in
Bb. Trios. Intermediate
Music for Three.
Classical. Intermediate.
Partbook - Part 2.
Published by Last Resort
Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Viola in alto clef.
Trios. Intermediate Music
for Three. Classical.
Intermediate. Partbook -
Part 2. Published by Last
Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Flute or Oboe or Violin
in C. Trios. Intermediate
Music for Three.
Classical. Intermediate.
Partbook - Part 1.
Published by Last Resort
Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Bass Clarinet in Bb.
Trios. Intermediate Music
for Three. Classical.
Intermediate. Partbook -
Part 3. Published by Last
Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Keyboard or Guitar.
Trios. Intermediate Music
for Three. Classical.
Intermediate.
Keyboard/guitar partbook.
Published by Last Resort
Music Publishing
By Franz Joseph Haydn. Edited by George Lucktenberg. For Piano. Piano Collection...(+)
By Franz Joseph Haydn.
Edited by George
Lucktenberg. For Piano.
Piano Collection. Alfred
Masterwork Edition.
Masterwork. Level:
Intermediate / Late
Intermediate (grade
4/5/6). Book. 24 pages.
Published by Alfred
Publishing.
21 pieces plus exercises for Trinity College London exams 2021-2023. Composed ...(+)
21 pieces plus exercises
for
Trinity College London
exams
2021-2023. Composed by
Various. Classical.
Textbook.
Trinity College London
#TCL020574. Published by
Trinity College London
(Baroque, Classical and Romantic Favorites, Wedding Music). By Various. Arranged...(+)
(Baroque, Classical and
Romantic Favorites,
Wedding Music). By
Various. Arranged by
Daniel Kelley. String
quartet, woodwind
quartet, piano quintet,
mixed quartet, clarinet
quartet. For French Horn
or English Horn.
Quartets. Music for Four
series. Baroque /
Classical.
Intermediate/Advanced.
Partbook - part 3.
Published by Last Resort
Music Publishing
Easy Pieces Piano seul [Conducteur] Stainer and Bell
Piano SKU: ST.R5135 Composed by Wolfgang Amadeus Mozart. Edited by Oscar ...(+)
Piano
SKU:
ST.R5135
Composed by
Wolfgang Amadeus Mozart.
Edited by Oscar Beringer.
Edited Oscar Beringer.
Score. Stainer & Bell
Ltd. #R5135. Published by
Stainer & Bell Ltd.
(ST.R5135).
ISBN
9790220211522.
CONT
ENTS Ah! vous
dirai-je maman; Theme
with variations, K.265;
Andante from Sonata in C,
K.545; Finale from Sonata
in B flat, K.570; Romance
from Concerto in D minor,
K.466; Rondo from Sonata
in A minor, K.331; Three
Minuets, K.2; Walzer,
K.567, No.4 and No.5;
Walzer, K.586, No.6.
12 pieces plus exercises for Trinity College London exams 2021-2023. Composed ...(+)
12 pieces plus exercises
for
Trinity College London
exams
2021-2023. Composed by
Various. Classical.
Textbook.
Trinity College London
#TCL020291. Published by
Trinity College London
2e Ballade Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ12699 Composed by Franz Liszt. EMB Liszt Works. Book On...(+)
Piano
SKU:
BT.EMBZ12699
Composed
by Franz Liszt. EMB Liszt
Works. Book Only.
Composed 1984. 60 pages.
Editio Musica Budapest
#EMBZ12699. Published by
Editio Musica Budapest
(BT.EMBZ12699).
English-German.
After touring Europe from
Lisbon to St. Petersburg
in the 1840s, Ferenc
Liszt settled in Weimar.
He abandoned his position
as a celebrated virtuoso
and took up the post of
court Kapellmeister
there. Ballade No. 2 is
also from the output of
this period. Composed
together with the Sonata
in B Minor and in the
same key, to the
discerning listener this
work reveals the
influence of Schubert and
Chopin. Intriguingly, the
work seems to have
progressed along the same
path as the composer
himself: initially, it
concluded with a
sensational and
thunderous finale, while
the definitive version
ends with quiet lyricism.
This duality can easily
be studied in this
edition, which includes
bothversions. This
revised (2018) edition is
raised to the level of
academic thoroughness by
a new editor s preface, a
facsimile, and full
critical notes.
Music for Two Cellos, Volume 1 2 Violoncelles (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Pansy Chang. Arranged by Daniel Kelley. For Cello Duet. Duets. Music f...(+)
Edited by Pansy Chang.
Arranged by Daniel
Kelley. For Cello Duet.
Duets. Music for Two.
Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Music for Two Clarinets, Volume 1 2 Clarinettes (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Arranged by Daniel Kelley. For Clarinet Duet. Duets. Music for Two. Classical. L...(+)
Arranged by Daniel
Kelley. For Clarinet
Duet. Duets. Music for
Two. Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Music for Two Violins, Volume 1 2 Violons (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Florence Titmus. Arranged by Daniel Kelley. For Violin Duet. Duets. Mu...(+)
Edited by Florence
Titmus. Arranged by
Daniel Kelley. For Violin
Duet. Duets. Music for
Two. Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Mixed Trios. By Various. Arranged by Daniel Kelley. For viola. Trios. Music for ...(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For viola. Trios.
Music for Three.
Classical / Baroque.
Level:
Intermediate/Advanced.
Part 2. Published by Last
Resort Music Publishing.
Mixed Trios. By Various. Arranged by Daniel Kelley. For Clarinet in Bb. Trios. M...(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Clarinet in
Bb. Trios. Music for
Three. Classical /
Baroque. Level:
Intermediate/Advanced.
Part 2. Published by Last
Resort Music Publishing.
Piano SKU: PR.510076960 Pour Piano. Composed by Stephane Delplace....(+)
Piano
SKU:
PR.510076960
Pour
Piano. Composed by
Stephane Delplace. Full
score. With Standard
notation. 28 pages.
Duration 25 minutes, 37
seconds. Gerard Billaudot
Editeur #510-07696.
Published by Gerard
Billaudot Editeur
(PR.510076960).
1. Choral: An
improbably superimposing
of Beethoven and Brahms.
At the end of the first
performance of the
latter's 1st Symphony,
someone asked the
composer: Don't you find
that your main theme
remin ds one of the Ode
to Joy? To which he
retorted: Even an idiot
would have noticed it! 2.
Fugue: in the last
exposition, the subject
of Fugue I from volume 1
of Bach's Well-Tempered
Keyboard is super imposed
on the theme from
Mozart's so-called easy
sonata. 3. Passion: In
his Violin Concerto,
Mendelssohn, to whom we
owe the rediscovery of
Bach's Passions, seems to
have borrowed a theme
from a lost Passion. 4.
Recitativo: Tribute to
Franck's tribute to Bach
in his Sonata for violin
and piano. 5. Invention:
A private revenge, after
a bitter failure.
Debussy's Toccata was on
the compulsory list for
the Conservatory piano
class entrance exam. 6.
Arpeggione: In which the
listener realizes the
similarity in the
introduction to
Schubert's Unfinished
Symphony and Arpeggione
Sonata. 7. Sarabande: The
most iconoclastic, for
Bach's 5th Cello Suite is
already suffused with
harmony. There might be
an evocatioin of a
Brahms-like overarching
structure, though... 8.
Variation: The slowest
variation ever written on
Paganini's 24th Caprice.
9. Scene: Schumann's
Reverie as a Prelude. 10.
Finale: In order to
capture the elusive
harmony of the Finale of
Chopin's Sonate Funebre.
11. Fugue on Au clair de
la lune: Our greatest
nursery rhymes, fugue
fitted and choralized.
12. Fugue de Noel
(Christmas fugue): Quite
appropriate. 13. Fugue on
J'ai du bon tabac:
Prohibited counterpoint.
14. Fugue on La
Marseillaise:
Franco-German
reconciliation. 15. Pedal
- Exercitium: Realization
and conclusion of Bach's
organ pedal exercies.
Finale. Composed
by Emilie Mayer. Arranged
by Lauren Taylor. Full
score. 20 pages. Duration
5:12. Carl Fischer Music
#SAS9F. Published by Carl
Fischer Music (CF.SAS9F).
ISBN 9781491163221.
UPC: 680160921973. Key: D
minor.
Despite an
impressive body of work,
little is known about
German composer Emilie
Mayer (1812-1883). Mayer
studied composition with
Carl Loewe after the
death of her parents,
writing a total of eight
symphonies, eight violin
sonatas, twelve cello
sonatas, six piano trios,
seven string quartets,
seven orchestral
overtures, and numerous
works for piano and
voice. Mayer's works were
acclaimed in Germany and
she toured frequently
performing her music, an
unheard of practice for a
single woman at the time.
Regrettably, however,
most of her work remained
unpublished at the time
of her death. Written in
her 30s, Mayer's stormy
fourth and final movement
from her second symphony
reveals her bold Romantic
style and growing
confidence as a composer.
Arranged for string
orchestra and timpani,
this movement was
painstakingly drawn from
the handwritten score,
offering a profound
opportunity for students
to experience the music
of this incredible
composer for the first
time.
Finale. Composed
by Emilie Mayer. Arranged
by Lauren Taylor. Set of
Score and Parts. Duration
5:12. Carl Fischer Music
#SAS9. Published by Carl
Fischer Music (CF.SAS9).
ISBN 9781491162880.
UPC: 680160921638. Key: D
minor.
Despite an
impressive body of work,
little is known about
German composer Emilie
Mayer (1812-1883). Mayer
studied composition with
Carl Loewe after the
death of her parents,
writing a total of eight
symphonies, eight violin
sonatas, twelve cello
sonatas, six piano trios,
seven string quartets,
seven orchestral
overtures, and numerous
works for piano and
voice. Mayer's works were
acclaimed in Germany and
she toured frequently
performing her music, an
unheard of practice for a
single woman at the time.
Regrettably, however,
most of her work remained
unpublished at the time
of her death. Written in
her 30s, Mayer's stormy
fourth and final movement
from her second symphony
reveals her bold Romantic
style and growing
confidence as a composer.
Arranged for string
orchestra and timpani,
this movement was
painstakingly drawn from
the handwritten score,
offering a profound
opportunity for students
to experience the music
of this incredible
composer for the first
time.