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Morceau de Concert f minor op. 94

About the Composer

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Camille Saint-Saëns

Saint-Saëns was one of the most multifaceted musicians of the second half of the nineteenth century in France. Regarded as a Classicist, he also wrote pieces with an Impressionist character to their sound, and one composition in quarter-tones. As a critic and essayist he was involved in the first complete editions of Rameau’s and Gluck’s works.

1835Born in Paris on October 9. Early comprehensive education.
1848–52Studies at the Conservatoire de Paris.
1853Organist at St. Merry Church in Paris.
1853–59First large-scale works: Symphony No. 1, Op. 2 (1853), and No. 2, Op. 55 (1859); Piano Concerto No. 1, Op. 17 (1858); Violin Concerto No. 1, Op. 20 (1859); Mass, Op. 4 (1856); he attempts to arrive at unique forms.
1857–77Organist at La Madeleine in Paris.
1861–65He teaches at the École de Musique Classique et Religieuse Niedermeyer.
1871Founding of the Société Nationale de musique.
1871–77Composition of symphonic poems “Le rouet d’Omphale” (“The Wheel of Omphale,” 1871), “Phaéton” (1873), “Danse macabre” (1874), “La jeunesse d’Hercule” (1877).
1876Attends the performance of the Ring in Bayreuth.
1877Performance in Weimar of his opera “Samson et Dalila.”
1881Member of the Académie des Beaux-Arts.
1883Performance in Paris of his opera “Henry VIII.”
1885Publication of the treatise “Harmonie et mélodie.”
1886Performance in London of his Organ Symphony (Symphony No. 3 in C minor): major work with thematic transformation after Liszt’s model. Composition of “The Carnival of the Animals,” the publication of which he forbade during his lifetime.
1899Publication of the book “Portraits et souvenirs.”
1900Cantata “Le feu celeste” in praise of electricity, for the opening of the Exposition Universelle.
1921Death in Algiers on December 16.

© 2003, 2010 Philipp Reclam jun. GmbH & Co. KG, Stuttgart

About the Authors

Dominik Rahmer (Editor)

Dr. Dominik Rahmer, born in 1971 in Mainz, studied musicology, philosophy and maths in Bonn. He did his Magister Artium in 1999 and his doctorate in 2006 with a thesis on the music criticism of Paul Dukas.

From 2001 to 2011 he was employed at Boosey & Hawkes/Bote & Bock in Berlin, where he also worked on the Critical Edition of the Works of Jacques Offenbach (OEK). Since 2011 he has been an editor at G. Henle Publishers in Munich, with a particular focus on French and Russian music and works for wind instruments.

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Klaus Schilde (Fingering)

Prof. Klaus Schilde, born in 1926, spent his childhood in Dresden. There he was greatly influenced by Walter Engel, who taught him the piano (Kodaly method), composition and violin. From 1946–1948 he studied at the music conservatory in Leipzig with Hugo Steurer. After moving to the west in 1952 he studied with Walter Gieseking and Edwin Fischer, as well as with Marguerite Long, Lucette Descaves and Nadia Boulanger in Paris.

Schilde won numerous prizes. From 1947 onwards he gave concerts as a soloist and chamber musician on almost every single continent with renowned orchestras. He taught at the music conservatories in East Berlin Detmold, West Berlin, Munich, Tokyo (Geidai) and Weimar. From 1988–1991 he was President of the Staatliche Hochschule für Musik und Theater in Munich, where he also taught for decades as a professor. There are numerous radio and television broadcasts with Klaus Schilde as well as CD recordings. Schilde has contributed fingerings to almost 100 Henle Urtext editions.

Prof. Klaus Schilde passed away on 10 December, 2020.

Die vorliegende Ausgabe ist von hervorragender Qualität. Sie ist gut leserlich und im großen Format sauber gedruckt. Der Klavierpart beinhaltet ein Vorwort in deutscher, englischer und französischer Sprache. Etliche erläuternde Bemerkungen im Anhang ergänzen die Ausgabe. (...) Mit der Urtext-Ausgabe haben Hornisten und Pianisten die Möglichkeit, dieses einzigartige Beispiel der französischen Romantik detailliert einzustudieren.

Das Orchester, 2017

Die jetzt erschienene (Urtext-Ausgabe) des Morceau de Concert von Camille Saint-Saëns ist wie die vorhergehenden hervorragend redigiert und mit einem Vorwort des Herausgebers Dominik Rahmer versehen, das ausführlich Aufschluss über die Besonderheit des Stücks gibt.

Schweizer Musikzeitung, 2019

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