Charles-Camille Saint-Saëns (1835 – 1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880), the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1886).

Saint-Saëns was a musical prodigy; he made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the official church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas.

Of his lesser-know works, the Trois Préludes et Fugues (Three Preludes & Fugues - Op 109), were completed in February 1898 at Las Palmas and are dedicated respectively to Fauré, Périlhou and Henri Dallier, who since 1879 had been organist of St Eustache and was to succeed Fauré at La Madeleine in 1905. On the receipt of a complimentary copy of the newly published work, Fauré wrote to Saint-Saëns: ‘Upon my return from London I found the superb Préludes et Fugues for organ which I will never be able to play properly, and I had the great joy of seeing my name at the head of one of them. I thank you a thousand times for this pleasant and flattering surprise.’

Saint-Saëns was renowned for his improvised fugues and Op 109 demonstrates well the ‘clean, clear, incisive subject, the surprisingly ingenious countersubject, the exquisitely imaginative and inventive episodes’ of which Huré wrote. Saint-Saëns himself related the anecdote of the bride who shocked him with the request not to play fugues at her wedding as they were too serious, and whilst Op 150 reveals an array of improvisatory possibilities, Op 109 attests also to the variety of his fugues. The first and third of Op 109, in D minor and C major respectively, are certainly cast in the grand style that he advocated for the instrument, though with varying characters. The G major, however, is full of the charm, grace and balance found in so much of his music. Vierne praised the works for their form and colour and asserted that they should be ‘… in the repertoire of any organist truly worthy of the name, as much for their superb style as for their virtuosic demands’.

Source: Wikipedia (https://en.wikipedia.org/wiki/Camille_Saint-Sa%C3%ABns ).

Although originally composed for Solo Piano, I created this interpretation of the Prelude and Fugue in C Major (Op. 109 No. 3) for String Quartet (2 Violins, Viola & Cello).