Par SAINT-SAENS CAMILLE. “The Etudes op. 52 and op. 111 are little masterpieces of invention. On every page you encounter ingenious inventions for piano technique and sound.” (Isidore Philipp) What Isidore Philipp described in “Musica” in 1907 is still true today: indeed, the etudes of Saint-Saens offer a panopticon of French piano technique as complex as it is dazzling. Individual etudes, such as the “Prélude No. 1” and “En forme de valse No. 6” from the “Etudes op. 52” or the “Toccata No. 6” and “Les Cloches de Las Palmas No. 4” are included in recitals time and again - they belong to the standard repertoire of piano students, at least in France. Even the “Etudes for the left hand op. 135” and the '“Fugues op. 161” are full of poetic surprises with their self-imposed limitations. The editor has written a detailed Introduction to these enchanting discoveries in this definitive volume. In addition to information on the history of the genre and its genesis, the Introduction provides biographical details about the dedicatees, insights on the contemporary reception of the works and notes on interpretation./ Recueil / Piano

This first publication of the Sonata in D major is based on Barenreiters series Camille Saint-Saens OEuvres instrumentales completes. 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-Saens 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. / Violoncelle Et Piano

Description Camille Saint-Saens: Piano Concerto No.2 In G Minor Op.22 (2-Piano Score) Saint-Sa ns composed and first played this work in 1868. It is scored for pairs of Winds, Horns and Trumpets, plus Timpani and Strings.

Performer: Benjamin Berlioz, Boston Pops Orchestra, Boston Symphony Orchestra, Chamber Orchestra of Europe, Chicago Symphony Orchestra, et al. Orchestra: Multi-Artistes Chef d'orchestre: Adrian Leaper, Arthur Fiedler, Carl Davis, Charles Gerhardt, Charles Munch, et al. Compositeur: Alexander Borodin, Alfredo Catalani, Antonin Dvorak, Antonio Vivaldi, Camille Saint-Saens, et al. CD (13 septembre 2010) Nombre de disques: 4 Format : Coffret Label: Sony Classical

Par SAINT-SAENS CAMILLE. “In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where itreceived its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of “Camille Saint-Saëns - Complete Edition of the Instrumental Works”. This performing Urtext edition is based on volume BA 10303 from that series. - First scholarly-critical edition of this famous symphony based on “Camille Saint-Saëns – Complete Edition of the Instrumental Works”- Now with separate parts for all winds- Orchestral parts in a large format (25. 5 cm x 32. 5 cm) ; In this work I gave everything I had to give. [… ] What I did here I will never do again. Camille Saint-Saë ns was justifiably proud of his Symphony No. 3 in C minor Op. 78, dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called ; Organ Symphony was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No. 3 marksthe launch of a large-scale project: the publication of Camille Saint-Saë ns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saë ns & Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25. 5 cm x 32. 5 cm) / Niveau : 5 / Répertoire / Orchestre

'Musique française'» est une collection conçue pour les étudiants, les professeurs et les interprètes professionnels. Les volumes, qui présentent une analyse des chefs-d''uvre de la musique française, offrent de précieux conseils d'interprétation et des commentaires de caractère historique et stylistique rédigés par de grands professeurs. Saint-Saëns a composé cette sonate pour hautbois et piano dans les dernières années de sa vie. Abordable pour les jeunes hautboïstes, ces derniers ont tendance à la jouer assez tôt dans leur cursus.

Hautbois (Oboe) & piano. Par SAINT-SAENS CAMILLE. Camille Saint-Saens' Sonata Op. 166 for Oboe with Piano accompaniment./ Répertoire / 2 Cors Anglais et Pianoforte

Par SAINT-SAENS CAMILLE. Saint-Saëns' etudes for the left hand were written in 1912 at the request of his pianist friend Caroline Montigny-Rémaury de Serres, who had suffered an injury to her right hand. These etudes which were printed in 1913 were originally entitled 'Petites pieces' by Saint-Saëns in his manuscript and indeed the cycle, which the composer himself described as 'charming' and 'amusing', lacks any rigour of an etude collection. Particularly the 'Bourrée' quickly enjoyed great popularity. The edition is based on the musical text from 'Saint-Saëns ' 'uvres instrumentales complètes', volume IV/3. An insightful Foreword (Fr/Eng/Ger) on the genesis and interpretation, a Critical Commentary (Eng) as well as an elegant music engraving make this collection of little gems the perfect addition to the piano repertoire. - First Urtext edition - Musical text based on 'Camille Saint-Saëns ' 'uvres instrumentales complètes' - With an insightful Foreword (Fr/Eng/Ger) on the genesis and interpretation and a Critical Commentary (Eng) / Date parution : 2022-11-29/ Etude / Piano

for Violin and Piano. Par SAINT-SAENS CAMILLE / YSAYE EUGENE. Originally, Camille Saint -Saëns created this work for piano in 1877 under the title 'Etude en form de Valse,' Op.52/6. In 1901, Ysaye reworked this piece for violin and piano and published it as 'Caprice d'après l'Etude en forme de Valse de Saint-Saëns.' Ysae created a veritable masterpiece for violin, far more popular now than the original piano version. It has taken its rightful place in the virtuoso violin literature. This work is on the concert and recorded repertory of virtually every major violinist and a compulsory work at most major competitions. / Date parution : 2021-11-03/ Répertoire / Violon et Piano

pour chant et piano. Par SAINT-SAENS CAMILLE. Tout au long de sa carrière, Camille Saint-Saëns compose quelque cent cinquante mélodies. Peu de temps avant de sa mort en 1921, il fait ses adieux à la mélodie en nous livrant les Trois Vieilles Chansons. Avec les Cinq Poèmes de Ronsard, composés en 1921, ce recueil nous montre Saint-Saëns revenant à la poésie des XVe et XVIe siècles à laquelle Charles Gounod, Georges Bizet ou encore Jules Massenet avaient déjà puisé. / Date parution : 2022-01-14/ Répertoire / Chant et Piano

In E-flat major Op.102. Par SAINT-SAENS CAMILLE. The second half of the 19th century represented something of a ?Golden Age? of the violin sonata in France: influential violin sonatas such as those by Franck, Fauré and Saint-Saëns were among the successful works of this genre, inspiring many further compositions. Saint-Saëns? Violin Sonata No.2 was written in 1896 during a stay of several months by the composer in Egypt: he began the main themes of all four movements as well as the canonic trio in Luxor and Aswan. The sonata was then completed on the Nile journey back to Cairo. That same year the sonata was premiered by Saint-Saëns and Pablo Sarasate in a concert celebrating the composer?s fiftieth stage anniversary. Astoundingly, he had first appeared on stage when he was only ten years old. This performing edition edited by Fabien Guilloux and François de Médicis is based on ?Saint-Saëns ? ?uvres instrumentales complètes?, volume III/4. It reflects the most up-to-date state of research on this work which the edition presents in a spacious engraving. - With a detailed Foreword (Fr/Eng/Ger) on the genesis and performance history - Performing edition based on the Urtext of the ?Saint-Saëns ? ?uvres instrumentales complètes? - Optimum layout in the violin part and piano score / Date parution : 2022-11-08/ Répertoire / Violon et Piano

Par SAINT-SAENS CAMILLE. Non, ce n'est pas seulement Bach/Gounod lorsqu'il entend l'Ave Maria : Camille Saint-Saëns (1835-1921), trop, définir ce texte à la musique plusieurs fois - par exemple, pour orgue (sans pédale) et deux voix identiques. L'orgue peut même être remplacé par un piano, le p vocal/ Répertoire / 2 Sopranos (Soprano/Alto) et Orgue