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 Concert...(+)
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.
Saint-Saëns was born in Paris on October 9, 1835. He
was one of the most precocious musicians ever,
beginning piano lessons with his aunt at two-and-a-half
and composing his first work at three. At age seven he
studied composition with Pierre Maledin. When he was
ten, he gave a concert that included Beethoven's Third
Piano Concerto, Mozart's B flat Concerto, K. 460, along
with works by Bach, Handel, and Hummel. In his academic
studies, he displayed the same genius, learning
languages and advanced mathematics with ease and
celerity. He would also develop keen, lifelong
interests in geology and astronomy.
Saint Saens actually wrote a number of works for Piano
Duet either for two pianos, or four hands [meaning two
players] at one piano. Written in 1855, but not
actually published until about 8 years later (hence the
slightly later Opus number), and not performed in
public until a concert in about 1868, this short (6
minute) piece is aimed at the talented amateur. it
requires some nifty but precise finger work (two things
which Saint Saens as a pianist excelled in), which
probably places it slightly above the performance
capacities of a simple sight-read, but it’s certainly
not as technically difficult as the Bagatelles Op. 3
which were written at the same time.
The piece has two sections – both in G major. The
first is a slow 9/8 air, which undergoes a few twiddly
variants, without much modulation before concluding.
It’s somewhat similar the slow movement from
Mendelssohn’s Piano Sonata Op. 106.
The second section is essentially a more rapid
perpetuum mobile in 3/8 with whirling semiquavers in
the top hands (occasionally rumbling down to the bottom
of the keyboard), played in counterbalance to a more
sedate tune in crotchets and quavers. There are a few
rumpety-pumpety (say the words and you’ll get the
rhythm) fanfare bits that carry you along to a fun and
satisfying conclusion.
Source: Allmusic
(https://www.allmusic.com/composition/%C3tudes-6-for-pi
ano-op-52-mc0002358821).
Although originally composed for Piano (4 Hands), I
created this interpretation of the "Duettino" (Op. 11)
for Winds (Flute & Oboe) & Strings (2 Violins, Viola,
Cello & Bass).
SHEET MUSIC