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.
This quickstep concert march (op. 86) is reminiscent of
the galops by Offenbach and other 19th century
composers. Originally written for four-hand piano in
1887 and published in 1890, this transcription was made
by Arthur Frackenpohl in 1972 and dedicated to Harry
Phillips and the Crane Wind Ensemble at the State
University at Potsdam, New York, where Frackenpohl
became a member of the music faculty in 1949.
The tempo of a pas redoublé varies with the
proficiency of the performer(s) as well as the wishes
of the composer and the customs of that period.
Saint-Saëns defended technical virtuosity, because it
was for him, a least partially, a gift. During the
mid-19th century military units in some nations were
marching to a cadence of about 90 steps per minute for
the slow march (pas ordinaire), 120 for the quick march
(pas redoublé) and 160 to 180 for the double-quick
march pas de charge. Frackenpohl recommends a tempo of
144 for this march.
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 "Pas Redoublé" (Op.
86) for Winds (Flute, Oboe, Bb Clarinet & Bassoon) &
Strings (2 Violins, Viola & Cello).
PARTITION