Gabriel Fauré Camille Saint-Saëns: Six Motets. SA accompanied (CPS): 2-Part

SKU: MB.31129M

ISBN 9781513476896. 8.75X11.75 inches.

The name of this book is no exaggeration. It includes some of the most gorgeous music that the authors El McMeen and Sandy Shalk know. To make things even more interesting, none of the music was originally written for guitar.In addition to Celtic favorites, El includes his arrangements of two of the most beautiful arias in all of opera: Che Gelida Manina from Puccinis La Boheme and My Heart at Thy Sweet Voice ôMon Coeur Souvre ? ta Voixö from Samson and Delilah by Camille Saint-Sa?ns. Sandys contributions range from Celtic to French love songs to Stephen Foster, manifesting Sandys gift for chordal subtleties and innovation.Each piece is in either standard tuning EADGBE or Drop D tuning DADGBE .Written in standard notation and tablature with computer generated audio files of each arrangement.

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!

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

SKU: HL.50566027

ISBN 9790044095377. UPC: 196288159414. 9.0x12.0x0.581 inches.

This edition belongs to “Musique vocale française”, a series devoted to French vocal repertoire – both in original and transposed key – designed for students and teachers as well as professionals; it includes 35 songs for medium-low voice, with original poems and English translations, that Camille Saint-Saëns composed throughout his entire career. The texts he chose for his music are proofof his excellent literary taste. It is not always easy to see a clear logic when looking at the entire corpus of the composer's melodies, coming to a total of around one-hundred and twenty works. Camille Saint-Saëns was one of the composers responsible for bringing nobility to French melody, thus paving the way for the generation, that of Gabriel Fauré and Henri Duparc, which would elevate it to its highest level.

SKU: HL.48187280

UPC: 888680825720. 9x12 inches.

“Bein g such a prolific composer, particularly for Vocal and Piano works, Gabriel Fauré's music is always addressed with high expectations. His Eve's Song for Voice and Piano accompaniment is no exception. Fauré (1845-1924) began receiving high quality musical instruction from age 10 at the Niedermeyer School. He eventually became a piano pupil of Camille Saint-Saëns. Fauré's career saw him succeed Théodore Dubois as organist at the Church of Madeleine in Paris and become professor of composition at the Paris Conservatoire, all the while composing sublime works. His song cycle Eve's Song was composed between 1906 - 1910. As Fauré's longest song cycle, Eve's Song is made up of ten melodies based on poetry by Charles Van Lerberghe. With Fauré's music remaining hugely popular to this day, Eve's Song is a favourite for the vocal repertoire.&rdquo.

SKU: HL.48186965

UPC: 888680882952. 7.25x10.75 inches.

“Bein g such a prolific composer, particularly for Vocal and Piano works, Gabriel Fauré's music is always addressed with high expectations. His Les Djinns for SATB choir and Piano is no exception. Fauré (1845-1924) began receiving high quality musical instruction from age 10 at the Niedermeyer School. He eventually became a piano pupil of Camille Saint-Saëns. Fauré's career saw him succeed Théodore Dubois as organist at the Church of Madeleine in Paris and become professor of composition at the Paris Conservatoire, all the while composing sublime works. Les Djinns was written towards the beginning of the composer's career and is based on the poem of the same name by Victor Hugo. The poem depicts the sounds of the night. Each stanza becomes gradually longer as the text climaxes, and shortens again with the anticlimax, creating an arch form. Fauré mimics this in his music through use of structure, dynamics and the texture of the Piano accompaniment. With Fauré's music remaining hugely popular to this day, Les Djinns is a favourite for the choral repertoire.&rdquo.

SKU: HL.49019351

ISBN 9790001188807. UPC: 884088948603. 9.0x12.0x0.076 inches.

The music of small forms was to become the focus of the French composer Gabriel Faure (1845-1924). In 1874, after many years spent in the 'provinces', the teacher of Camille Saint-Saens took the position of organist in Paris; later he worked not only as a church musician but as a teacher as well. In the summer of 1887 Faure wrote his Pavane Op. 50, originally intended for a concert providing light entertainment, which soon gained wide popularity as an orchestral setting without and with the chorus added by Faure. The romantic, slightly melancholy melody is a catchy tune which, thanks to the present arrangement, can now also be played on the piano.

SKU: CA.231100

ISBN 9790007186203.

The French Choral Collection is a real treasure trove for choirs to explore music from France. The collection contains 45 sacred compositions for mostly four-part mixed choir, all of which were composed in France. In compiling the collection the editor Denis Rouger, Professor of Choral Conducting at the Musikhochschule Stuttgart, has drawn on his extensive experience as Cantor at Notre-Dame and Sainte-Madeleine in Paris, as well as on his work with many professional and amateur ensembles in Germany and France. The result is an extremely varied choral collection with works from the Renaissance to the present day. Separate editions are also available. In addition to well-known works by Marc-Antoine Charpentier, Gabriel Faure, and Camille Saint-Saens, the collection includes first editions of previously largely unknown works by composers such as Adolphe Adam and Charles-Marie Widor. The choral director's volume includes a CD with recordings of selected works, sung by the figure humaine chamber choir conducted by the editor, which will help with learning and rehearsing the repertoire. Most of the pieces have texts from the Latin liturgy which are also familiar in other countries. Added translations into German, English and French help to understand the original singing texts.

SKU: CA.231105

ISBN 9790007240974.

The French Choral Collection is a real treasure trove for choirs to explore music from France. The collection contains 45 sacred compositions for mostly four-part mixed choir, all of which were composed in France. In compiling the collection the editor Denis Rouger, Professor of Choral Conducting at the Musikhochschule Stuttgart, has drawn on his extensive experience as Music Director at Notre-Dame and Sainte-Madeleine in Paris, as well as on his work with many professional and amateur ensembles in Germany and France.The result is an extremely varied choral collection with works from the Renaissance to the present day. In addition to well-known works by Marc-Antoine Charpentier, Gabriel Faure, and Camille Saint-Saens, the collection includes first editions of previously largely unknown works by composers such as Adolphe Adam and Charles-Marie Widor. The choral director's volume includes a CD with recordings of selected works, sung by the figure humaine chamber choir conducted by the editor, which will help with learning and rehearsing the repertoire. Most of the pieces have texts from the Latin liturgy which are also familiar in other countries. Added translations into German, English and French help to understand the original singing texts. Score available separately - see item CA.231100.

SKU: ST.C389

ISBN 9790570813896.

An Album of Twenty French Songs arranged for Bassoon and Piano by Martin Gatt

Fauré�??s poignant love song Après un rêve exists in many different transcriptions for various instruments (the most famous version perhaps being the one for cello and piano that Pablo Casals made in 1910), and provides the initial inspiration for this album of French songs transcribed for bassoon and piano. The bassoon is capable of a broad range of timbres and expression, and it is the lyrical, vocal quality of the instrument that Martin Gatt has always been attracted to. In both his performance and teaching, his emphasis is on the importance of what he calls �??vocalising�?? through the bassoon, and for him, music for the voice �?? especially art songs of the 19th and 20th centuries �?? has been a rich source of material for exploring the expressive tonal colours of the bassoon.

The treasure trove of French art song from composers ranging from Claude Arrieu to Louis Vierne, not to mention the greats like Berlioz or Debussy or Ravel, has made the task of choosing which songs to include in this album a difficult one. In the end, Martin has settled on eight composers who have produced some of the most appealing music in the genre �?? Camille Saint-Saëns (1835-1921), Georges Bizet (1838-1875), Emmanuel Chabrier (1841-1894), Jules Massenet (1842-1912), Gabriel Fauré (1845-1924), Henri Duparc (1848-1933), Cécile Chaminade (1857-1944), and Francis Poulenc (1899-1963). Rather than grouping by composer, the songs are set out in a way that contrasts different emotional worlds and sentiments, from the vibrant exuberance of Chabrier�??s L�??île heureuse to the gentle melancholy of Poulenc�??s Mais mourir. These �??songs without words�?� for the bassoon, clearly demonstrate the instrument�??s cantabile qualities, varied nuances, and wide-ranging emotional possibilities.