Following the sonatas for oboe and clarinet, the bassoon sonata is the last of the compositions for wind from 1921, the year of Saint-Saëns’ death. He did not have a chance to write the sonata for cor anglais he had planned. The humorous, technically not very demanding work hardly shows that the composer was not particularly well acquainted with the instrument. In a letter he admitted to his publisher that he had preferred to check a school to confirm the range of the bassoon at a high passage. However, trial runs with the subsequent dedicatee Léon Letellier went extremely well for both parties. The autograph was made available for the first time for the publication of our Urtext edition.
- Bassoon Sonata op. 168
Camille Saint-Saëns (1835–1921) wrote a number of chamber works in unusual or at least uncommon scorings. Among them are not only the celebrated constellations of the Septet op. 65 (1890) for trumpet, stringed instruments and piano, and the Carnaval des animaux (1886) for stringed instruments, flute, clarinet, harmonica, xylophone and two pianos, but also many duos such as … more
About the composer
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.|
About the authors
Spieltechnisch äußerst anspruchsvoll präsentiert sich diese Ausgabe als übersichtliche, mit dem Urtext kritische Fassung, die für den Interpreten viele neue Informationen birgt – sie könnte daher gerade für erfahrene Musiker sehr attraktiv sein.
Die hier vorliegende Urtextausgabe hat einen hohen Grad von Authentizität, was der Vergleich mit dreien uns vorliegenden älteren Ausgaben zeigt ... Diese Ausgabe wird unter Fagottisten und Pianisten ihre Freunde finden.