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BIBLIOTHÈQUE
Saint-Saens, Camille Camille Saint-Saens
France France
(1835 - 1921)

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243 MP3
25 MIDI





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Saint-Saens, Camille: Prelude & Fugue in Eb Minor from 6 Etudes for Flute & Strings

Prelude & Fugue in Eb Minor from 6 Etudes for Flute & Strings
Op. 111 No. 3
Camille Saint-Saens




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

Flūte et Quatuor ą cordes

Genre :

Romantique

Arrangeur :
Editeur :
Camille Saint-SaensMagatagan, Mike (1960 - )
Tonalité :Mi♭ mineur
Date :1899
Droit d'auteur :Public Domain
Camille Saint-Saėns 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.

He was one of the great pianists of his age, albeit in the strict, prim style severe of the previous epoch, whose crackling precision he carried into the twentieth century. A lifelong Parisian surrounded by a dazzling array of talent, the sheer edge of his genius seemed to cut him off from more than superficial attachments to those less gifted. But encountering Liszt in 1866, in Paris for the first performance of his "Gran" Mass -- the aged Liszt whose mightiest works lay behind him -- Saint-Saėns experienced the shock of recognition, the deep artistic impact of another personality. On March 8, in the salon of Princess Metternich, he was tapped to play beside Liszt, reading (that is, transposing at sight) from the orchestral score two movements from Liszt's Mass, occasioning Liszt's remark, "It is possible to be as much of a musician as Saint-Saėns; it is impossible to be more of one!" Then, Liszt played solo. Saint-Saėns recalled, "...from beneath his fingers, almost unconsciously, and with an astonishing range of nuances, there murmured, surged, boomed, and stormed the waves of the Legend of St. Francis of Paule walking on the waters. Never again shall we see or hear anything to compare with it." The consequences of this meeting would take decades to shake out, interrupted by the Franco-Prussian War. Through the 1870s Saint-Saėns emulated Liszt in the composition of symphonic poems, but it was inevitable that he should follow Liszt's lead in the Transcendental and Paganini Études in the exploration of keyboard technique. His own set of Études (6), composed in 1877, opens disarmingly with a re-composition of the Preludio of the Transcendental Études, whose keyboard-sweeping bravura is extended and enlarged in an homage out-Heroding Herod, so to speak. The second requires the pianist to bring out a sighing melody embedded in gently throbbing chords -- a study in finger independence. The third (dedicated to Anton Rubinstein) features a Prelude for alternating hands in a toccata-like disgorgement of flashing triplets leading to a briskly busy Fugue capped by vehement octaves. The fourth sets a melody of pleading charm amid the constant play of two against three -- a study in rhythm. The fifth is another Prelude and Fugue, shadowing a confiding melody in a shimmer of tremolos in fifths and sixths to introduce a ruminative contrapuntal exercise. The series is rounded off with a giddy waltz, a scintillant salon trifle, though the lightning precision required to bring it off is no trifling matter. .

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 Prelude & Fugue in Eb Minor (Op. 111 No. 3) for Flute & Strings (2 Violins, Viola & Cello).

Download the sheet music here: https://musescore.com/user/13216/scores/5611653
Source / Web :MuseScore
Ajoutée par magataganm le 2019-06-16
Partition centrale :Six Études, 111 (3 partitions)

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Cette partition est associée ą la collection de magataganm :
flûte
flûte
Dispositions Flute
Liste des partitions :
› Élévation from 30 Pièces pour Orgue for Flute & Strings
› "Matribus suis dixerunt" for Woodwind Quintet
› "2 Alma Redemptoris Mater" for Woodwinds & Strings - Vents et Quintet ą cordes
› "3 Gradualia" for Winds & Strings - Vents & Orchestre Cordes
› "A Christmas Air" for Flutes & Harp - Flute et Harpe
› "A Cup of Tea" Reel for Flute - Flūte seule
› "A Dieu Celle" for Woodwind Sextet - Sextuor ą vent.
› "A Pretty Maid Milking the Cow" for Flute, Oboe & Harp - Flūte, Hautbois, Harpe
› "A Swiss Melody" for Flute Quartet - Quatuor de Flūtes
› "Abendlied" for Woodwind Quartet - Quatuor ą vent






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