The a-minor Concerto, is a true gem in the repertoire of great cello music. David Geringas provided the fingerings for this Urtext edition for which editor Peter Jost supplied a detailed preface. Johannes Umbreit has revised the composer's highly playable piano reduction to suit the needs of today's performers.
- Violoncello Concerto no. 1 a minor op. 33
Camille Saint-Saëns (1835–1921) showed a particular fondness for the cello in the 1870s, his Suite op. 16 (1862) being the only other work in which he had previously used it as a solo instrument. In quick succession he wrote the first cello concerto in a minor op. 33 and the first cello sonata in c minor op. 32 (autumn/winter 1872), three years later the Allegro … 続き
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.|
Alterations to the original bowings and dynamics are clearly marked, and the edition follows the composer’s own piano reduction of the work which included additions to the solo cello part. Thankfully, unlike my own French this one contains bar numbers, and some very carefully-organised pageturns in the piano part.
Dieses Konzert ist eine wahre Perle des großen Cellorepertoires. Die Urtextausgabe wurde von David Geringas eingerichtet und mit einem ausführlichen Vorwort des Herausgebers Peter Jost versehen. Johannes Umbreit hat den originalen, durchweg gut spielbaren Klavierauszug des Komponisten unter praktischen Gesichtspunkten neu überarbeitet.
Saint-Saëns has entered the Henle catalogue with three new publications at once. One, the a-minor Concerto, is a jewel in the repertoire of great cello music. This urtext edition has been marked up by David Geringas and supplied with a detailed preface by the editor, Peter Jost. Johannes Umbreit has revised the composer’s highly playable piano reduction to suit the needs of today’s performers.