Große Zoologische Phantasie Für Klavier Leicht Bearbeitet. Par SAINT-SAENS CAMILLE. Comme un spécial ' bonbons ' les paroles charmants de Loriot sont inclus dans ce numéro, et il est donc double plaisir, jouant les mélodies accrocheuses par Saint-Saëns. / Get to know Classical Masterpieces / Répertoire / Piano

Description Camille Saint-Saens: Piano Concerto No.2 In G Minor Op.22 (2-Piano Score) Saint-Sa ns composed and first played this work in 1868. It is scored for pairs of Winds, Horns and Trumpets, plus Timpani and Strings.

Hautbois (Oboe) & piano. Par SAINT-SAENS CAMILLE. Camille Saint-Saens' Sonata Op. 166 for Oboe with Piano accompaniment./ Répertoire / 2 Cors Anglais et Pianoforte

Havanaise op. 83 for Violin and Piano-Camille Saint-Saëns' Havanaise Op.83 for Violin and Piano. Urtext edition.It is said that Camille Saint-Saëns' was inspired to write Havanaise Op.83 after observing acrackling open fire at one of the hotels where he stayed whilst on tour with the violinist Rafael Diaz Albertini in 1885.We do not know whether when writing the composition two years later the Habanera (French Havanaise)with its typical two beat dance rhythms was an allusion to the Cuban origin of his friend Albertini to whom this work is dedicated.At any rate the composition was extremely well received from the very beginning both in its original form and in the Orchestral version. Ingolf Turban kindly provided the bowings for the virtuoso Violin part.

Piano Concerto No. 4 In C Minor (concerto pour Piano en ut mineur) Op. 44 by Camille Saint-Saëns is the composer's most structurally innovative Piano concerto. In one sense it is like a four-movement symphony but these are grouped in pairs. That is the piece is divided into two parts each of which combines two main movements (Part 1: I. Moderatetempo Theme and Variations in C Minor; II. Slower Theme and Variations in A-flat Major; Part 2: III. Scherzo in C Minor; IV. Finale in C Major). However in each part there is a bridge-like transitional section between the two main 'movements' for example a fugal Andante in part II functions as aninterlude between the two main sections. The concerto begins with a gently mischievous chromatic subject heard in dialogue between the strings and piano soloist and continues in a creative thematic development similar to Saint-Saëns' Third Symphony. The composer demonstrates brilliant skill in employing the piano and orchestra almost equally. In the Andante he moves to A-flat major with a chorale-like theme in the woodwinds (also strikingly similar to the tune of the Third Symphony's final section) and uses this as a platform on which to build a series of variations before bringing the movement to a quiet close. The Allegro vivace begins again in C minor as a high-spirited scherzo using material foreshadowed in the first movement. 2/4 and 6/8 are playfully juxtaposed throughout. At one point the Piano boldly leads the orchestra in an energetic 6/8 theme in Eflat major. Eventually the orchestra moves to a lush Andante recapitulating the Andante section from the first movement. Rather suddenly the piano climbs up to a flurry of double octave trills and a climactic trumpet fanfare leads to the jubilant finale based on a hymn-like theme in triple time. The concerto concludes with the piano in glittering cascades guiding the orchestra to a fortissimo close.The piano concerto was premièred in 1875 with the

In 1860 Camille Saint-Saëns composed his Oratorio de Noël for five vocal soloists mixed choir strings organ and harp. The work sung in Latin is based on texts from the Old and New Testaments the Psalms and Gospels as well as the Catholic Christmas liturgy. A distinctive chamber music-like instrumentation with lyrical soloistic parts and a modest choral part combine to create a basic pastoral mood which has led this Christmas Oratorio to become one of the most performed works by Saint-Saëns. Carus offers this work both in its original version and in an arrangement in which the choir is accompanied solely by an organ.

This is a wonderful adaptation of Camille Saint-Saens Carnival of the Animals for three-part choir and piano accompaniment. Each movement is complimented by a witty narrative verse and the lyrics also abound with humour and fun; all provided by Jeremy Browne. With brilliant musical arrangements by Gwyn Arch Carnival! is an ideal celebratory work that can also be greatly enhanced by the use of costumes animal masks and dancers.

Camille Saint-Saëns' Danse Macabre Op.40 transcribed by the composer for Violin and Piano and re-typeset to the highest modern standards.

from The Carnival of Animals-Camille Saint-Saens' The Swan from The Carnival of Animals suite arranged here for Cello and Piano accompaniment. The Cello part edited by Jaqueline du Pre.

Pour cor en fa ou Violoncelle & Piano-Camille Saint-Saens's Romance Op.36 for Horn in F (or Cello) with Piano accompaniment.

Extrait de 'Le Carnaval des animaux'-Camille Saint-Saens' L'Elephant from Carnival Of The Animals. Arranged here by Lucien Garban for Cello (or Double Bass) and Piano.

Camille Saint-Saens' Danse Macabre Op.40 transcribed by the composer himself for Violin with Piano accompaniment.

Camille Saint-Saens' Elephant is a delightful miniature from The Carnival Of The Animals and is one of the few works that are attractive to learners and accomplished players alike. Its many musical and technicalchallenges have earned it a permanent place in the teaching repertoire yet it offers soloists a welcome opportunity to demonstrate their prowess and espirit even in the low register.The ease with which a greatcomposer accurately and skilfully probes the idiosyncracies of this largest of string instruments for expressive purposes - a combination of features seldom encountered in the double bass repertoire - is truly impressive. All themore astonishing therefore that the Elephant although widely known is relatively rarely heard in the concert hall.This Urtext edition of the score has been edited with critical commentaries as well as fingeringand bowing of the double bass part by Tobias Glockler. The accompaniment is notated in E flat and F and so the double bass can perform using either solo tuning or orchestra tuning.

This very moving and expressive selection was adapted from the second movement of Camille Saint-Saens' Symphony for Organ and Orchestra Opus No. 78.