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Saint-Saens, Camille Camille Saint-Saens
France France
(1835 - 1921)
418 sheet music
228 MP3
25 MIDI







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Saint-Saens, Camille: "Bourée" from "6 Études pour la Main Gauche" for Double Reed Trio

"Bourée" from "6 Études pour la Main Gauche" for Double Reed Trio
Op. 135 No. 4
Camille Saint-Saens




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Composer :Camille Saint-SaensSaint-Saens, Camille (1835 - 1921)
Instrumentation :

Oboe, English horn, Bassoon

Style :

Romantic

Arranger :
Publisher :
Camille Saint-SaensMagatagan, Mike (1960 - )
Date :1912
Copyright :Public Domain
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. He was a conservative who wrote many popular scores scattered throughout the various genres: the Piano Concerto No. 2, Symphony No. 3 ("Organ"), the symphonic poem Danse macabre, the opera Samson et Dalila, and probably his most widely performed work, The Carnival of The Animals. While he remained a composer closely tied to tradition and traditional forms in his later years, he did develop a more arid style, less colorful and, in the end, less appealing. He was also a poet and playwright of some distinction.

The left-hand Op 135 Études are distinctive and in a world removed from the other two sets of Études. Caroline de Serres née Montigny-Rémaury was Saint-Saëns’ duet partner and the dedicatee of his ‘waltz-caprice’ Wedding Cake, Op 76, a gift for her second wedding in 1886. In 1912 her right hand was operated on and she requested a set of studies for her left hand alone. Robert Casadesus, in conversation with Dean Elder, tells a different story. He was under the impression that Saint-Saëns had written the Études for the best students of his good friend Louis Diémer, the dedicatee of Franck’s Variations symphoniques. Because Casadesus was the teacher’s pet (chou chou), Diémer gave him the Bourrée, considered the best piece of the set. He played it for Saint-Saëns himself. One wonders how Saint-Saëns reacted! That grande-dame of French playing, Jeanne-Marie Darré, who played all five Saint-Saëns Concertos in one evening in 1926, described Saint-Saëns as “very boorish, you know, not amiable”. For Opus 135 Saint-Saëns becomes neo-Classical, recreating old dance forms from harpsichord suites, inspired by his life­long interest in the works of Couperin and Rameau. These are unpretentious pieces, but beautifully textured and intelligently designed. They were avidly studied by Ravel before he wrote his Concerto pour la main gauche.

The Prélude, in G major, gently contrasts arpeggiated chords and sustained melodic fragments. The Alla fuga continues in the same key. Thankfully, its strutting subject is only taken up by one other voice, but the two attain a stretto on the final page and achieve quite a lot of contrast on their ‘flight’. The Moto perpetuo which follows is marked ‘softly and calmly, without speed and very evenly’. It would be easier to play faster—but therein lies the challenge! Its gentle ups and downs innocently explore different keys and registers, reaching a forte climax before evaporating. Then to the vigorous Bourrée with its middle section a forty-eight-bar G pedal point! The Élégie is decked in entirely different garb from the other five pieces. Its probing Romantic phrases contrast curiously with its surroundings. The second section does recall the opening Prélude with its arpeggiated chords, but there the connections end. It must have been this piece which Ravel found so helpful in 1929. It is quite lovely. The Gigue, though, provides a predictably presto conclusion, with occasional rhythmic displacements for spark and a witty descent at the end

Source: Allmusic (https://www.allmusic.com/composition/%C3tudes-6-for-pi ano-op-52-mc0002358821).

Although originally composed for piano, I created this interpretation of the Bourée from 6 Études pour la Main Gauche (Op. 135 No. 4) for Double-Reed Trio (Oboe, English Horn & Bassoon).
Source / Web :MuseScore
Sheet central :Six Études pour la main gauche seule (3 sheet music)
Added by magataganm the 2019-06-25


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This sheet music is part of the collection of magataganm :
Woodwind
bois
Woodwind Arrangements
Sheet music list :

› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Oboe and bassoon
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Oboe, English horn, Bassoon
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "Album Leaf" from Lyric Pieces for Clarinet & Strings
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings




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