Given Saint-Saëns’ talents both as pianist and composer, it stood to reason that he would engage with the piano concerto genre early on. But he gave a clear renunciation of the “concerto brilliant” that was dominant in France at that time, declaring instead that “the solo part of a concerto must be set out, and treated, like a dramatic role”. He realised this concept of a “symphonic concerto” in this second piano concerto, composed in 1868. The solo part is technically very challenging, and at the same time closely bound up with the orchestra. Johannes Umbreit is responsible for the piano reduction, based on the composer’s own version for two pianos; Pascal Rogé supplies the fingerings for the solo part.
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According to Camille Saint-Saëns’s (1835 – 1921) own account, his amicable relationship with the Russian composer and pianist Anton G. Rubinstein (1829 – 94) provided the impetus for the composition of the Piano Concerto no. 2 in g minor op. 22. In the spring of 1868 Rubinstein gave a guest performance in Paris and, during the interval of a concert at the … 続き
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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.
| 1835 | Born in Paris on October 9. Early comprehensive education. |
| 1848–52 | Studies at the Conservatoire de Paris. |
| 1853 | Organist at St. Merry Church in Paris. |
| 1853–59 | First 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. |
| 1857–77 | Organist at La Madeleine in Paris. |
| 1861–65 | He teaches at the École de Musique Classique et Religieuse Niedermeyer. |
| 1871 | Founding of the Société Nationale de musique. |
| 1871–77 | Composition of symphonic poems “Le rouet d’Omphale” (“The Wheel of Omphale,” 1871), “Phaéton” (1873), “Danse macabre” (1874), “La jeunesse d’Hercule” (1877). |
| 1876 | Attends the performance of the Ring in Bayreuth. |
| 1877 | Performance in Weimar of his opera “Samson et Dalila.” |
| 1881 | Member of the Académie des Beaux-Arts. |
| 1883 | Performance in Paris of his opera “Henry VIII.” |
| 1885 | Publication of the treatise “Harmonie et mélodie.” |
| 1886 | Performance 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. |
| 1899 | Publication of the book “Portraits et souvenirs.” |
| 1900 | Cantata “Le feu celeste” in praise of electricity, for the opening of the Exposition Universelle. |
| 1921 | Death in Algiers on December 16. |
Die Fingersätze von Pascal Rogé sind vor allem in den vielen schnellen Passagen des Scherzos sehr hilfreich, weil sie eine gleichmäßig fließende Wiedergabe erlauben. Die Druckgrafik der Ausgabe ist räumlich gut ausbalanciert und angenehm zu lesen. Aus dem dreisprachigen Vorwort von Peter Jost ist viel Wissenswertes zur Entstehungsgeschichte des Werkes zu erfahren.