Originally planned only as a little duo for violin and piano, the composition grew into a sonata in autumn 1885. The first performances were more than disillusioning for Saint-Saëns, as the violinists came to grief with its virtuosic demands, in particular those of the finale. He told his publisher that it would be called “the hippogriffsonata”, implying that the violin part could only be played by a mystical figure. Since then the sonata has, by and large, lost its horrors and is now one of the best loved chamber music works by the French master, despite, or perhaps even because of its technical challenges. Our Urtext edition is the first to take into account all surviving sources for the work.
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Right from his childhood, Camille Saint-Saëns (1835–1921) was writing works for both piano solo and for various chamber music combinations. A complete three-movement Violin Sonata in Bb major (1842) and an incomplete Violin Sonata in F major (1850) that breaks off in its second movement reveal an early interest in this genre, to which he returned only years later. In a … 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. |
Bereits beim ersten Durchblättern fällt das organische Druckbild auf. (...) Sehr augenfreundlich und mit guten Blätterstellen versehen, lässt die Ausgabe kaum Wünsche offen.