 | Saint-Saens, Camille - "Prélude et Fugue" from 6 Études for String Quartet Opus 111 No. 3 Quatuor à cordes |
VoirPDF : "Prélude et Fugue" from 6 Études (Opus 111 No. 3) for String Quartet (9 pages - 419.29 Ko)146x⬇ MP3 : "Prélude et Fugue" from 6 Études (Opus 111 No. 3) for String Quartet 27x⬇ 347x
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| Compositeur : | Saint-Saens, Camille (1835 - 1921) | ||||
| Instrumentation : | Quatuor à cordes | ||||
| Genre : | Romantique | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1892 | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 10 Nov 2016 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. Opus 111 was written in 1899. As with Opus 52, each étude is dedicated to a well-known virtuoso; again there is an emphasis on double-note technique. I have a great affection for the first piece, Tierces majeures et mineures dedicated to Arthur de Greef. It pays homage to Chopin’s infamous Op 25 No 6, sharing the ghoulish key of G sharp minor and recalling the opening trill figure. To make things difficult, though, it calls for the right-hand thumb to hold down notes, forcing the use of the fingers for the thirds. It also requires left-hand participation in thirds, unlike the Chopin. Technical requirements aside, it has a touching plaintiveness quite alien to the opening étude of Op 52. A winged poetry permeates the five-finger chromatic figures of No 2, Traits chromatiques. Surely Debussy had this étude somewhere in his subconscious when he wrote his étude, Pour les degrés chromatiques? A rather more angular Prélude et Fugue in E flat minor displaces the impressionistic world of the first two études. Shifting quaver chords agitate a courageous, thrusting theme in the prelude, which eventually quietens into a thoughtful fugue subject, taken up in four voices and rounded off by a big finish. The seductive world of the Canary Islands is conjured up by No 4, Les cloches de Las Palmas. Repetition and the creation of atmosphere are the technical exercises involved—a rather imaginative tone poem is the result. Although originally written for piano, I created this interpretation for String Quartet (2 Violins, Viola & Cello). Partition centrale : | Six Études (3 partitions) | | |||
