Organ
SKU: BA.BA10927
ISBN 9790006566259. 31 x 24.3 cm inches. Key: E minor.
Ludwig van Beethoven’s overpowering legacy caused many subsequent composers to avoid writing string quartets at all. Saint-Saëns was no exception in this respect and waited until 1899 and 1918 to produce his two contributions to the genre. Couched in classicism, they relate in form and style to early 19th-century French quartets and to a titan of the genre: Joseph Haydn.Saint-Saà ns’ string quartets appear here for the first time in a scholarly-critical edition. It is also the first edition to contain the original version of the Finale to String Quartet No. 2 in score and parts. An informative Introduction is included in the study score to complete this volume of important French chamber music, based on the Urtext from “Camille Saint-Saëns – Complete Edition of the Instrumental Worksâ€.
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
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
SKU: BT.DHP-0940571-020
In the most literal sense: a piece for an occasion. The actual occasion was Jan de Haan’s twentieth anniversary as a conductor of the top Dutch brass band, “Soli Deo Gloria†(Leeuwarden). To mark the occasion, the band commissioned the Belgian comopser Jan Van der Roost to create a surprise piece: without knowledge of the person being celebrated, a suitable source of inspiration was sought for. After some thought the chorale-theme from Camille Saint-Saëns organ symphony was chosen, a piece with which Jan de Haan has a special bond.Apart from this chorale, Homage is also based on the names of notes taken from ‘Jan de Haan’ and ‘Soli Deo Gloria’, resulting in the tonerow: DEGAH. Both elements are combined together and form a grand climax towards the end of the piece when the whole band unites in the Saint Saëns’ theme. Homage wurde von Jan Van der Roost im Auftrage der Brass Band Soli Deo Gloria aus Leeuwarden geschrieben. Direkter Anlass dazu war das 20-jährige Jubiläum von Jan de Haan als Dirigent dieses Ensembles. Als Inspiration diente dem Komponistendas Choralthema der Orgelsymphonie von Camille Saint-Saëns, ein von Jan de Haan geschätztes Werk. Nebst diesem Choral basiert Homage ebenfalls auf den Notenbezeichnungen aus ‘Jan de Haan’ und ‘Soli Deo Gloria’, was die Notenreihe DEGAH ergab.Beide Elemente werden durcheinander verwendet, bis sich schließlich die ganze Band im Finale mit dem Saint-Saëns-Thema wieder zusammenfindet.
SKU: BT.DHP-0940571-010
SKU: 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!
SKU: CF.YAS244
ISBN 9781491164969. UPC: 680160923878. Key: E minor.
Fossils and Finale combines two of the better-known movements from the humorous Carnival of the Animals. This fourteen-movement suite by Camille Saint-Saëns featured musical depictions of animals such as The Swan and The Elephant, and was written for a private performance with young students in mind. While the composer didn't feel it was serious enough to be performed during his lifetime, it has since gone on to become a beloved classical-musical favorite. In this arrangement, the quirky Fossils with optional xylophone is written to be more accessible for intermediate students, segueing seamlessly into the circus-like Finale. Both movements feature bright, fun melodies within playable ranges and keys for the developing ensemble and the original piano part integrated into the string parts.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS244F
ISBN 9781491165362. UPC: 680160924271. Key: E minor.
Fossils and Finale combines two of the better-known movements from the humorous Carnival of the Animals. This 14-movement suite by Camille Saint-Saëns featured musical depictions of animals such as The Swan and The Elephant, and was written for a private performance with young students in mind. While the composer didn't feel it was serious enough to be performed during his lifetime, it has since gone on to become a beloved classical musical favorite. In this arrangement, the quirky Fossils with optional xylophone is written to be more accessible for intermediate students, segueing seamlessly into the circus-like Finale. Both movements feature bright, fun melodies within playable ranges and keys for the developing ensemble and the original piano part integrated into the string parts.
SKU: AP.98-RWS220101
The Finale to Saint-Saëns’ 3rd Symphony (with Organ) is a shimmering, sparkling explosion of color that stands out among the classical repertoire as one of its most exciting endings! Evan VanDoren has masterfully captured Saint-Saëns’ unique compositional color and style, adjusting the key for maximum playability, while staying true to the original work!
SKU: CL.RWS-2201-00
SKU: AP.49029
ISBN 9781470645441. UPC: 038081561172. English.
Everyone's Guide to the String Orchestra, arranged by Douglas Wagner, is a fantastic selection to feature each section of the ensemble. They all have their very own time to shine in the spotlight with this uniquely scored arrangement of themes from four movements of Saint-Saëns' The Carnival of the Animals. Program as a straight-forward concert number or as a piece incorporated into a recruitment presentation. Medley titles (in order of appearance) are as follows: The Swan (cello section feature) * Lion's Royal March (viola section feature) * The Elephant (string bass section feature) * Finale (violin section feature). (3:10).
SKU: AP.49029S
ISBN 9781470645458. UPC: 038081561189. English.
SKU: CY.CC2902
The dramatic Finale and Maestoso from the Saint-Saens Organ Symphony No. 3 has been brilliantly arranged for 6-part Trombone Ensemble by Jeremy Niles Kempton.This 4 minute work is appropriate for advanced performers.Instrumen tation is:6 Trombones with optional Timpani and Organ.
SKU: TM.12315SET
Reduced by H. Mouton. Tpts in C,hns F,CL Bb. P/C in set. From Finale Suite Algerinne.
