As with Schumann’s “Concert Piece for four Horns” op. 86 (HN 1138) Saint-Saëns’ “Morceau de Concert” was also composed with the idea of exploiting the technical possibilities of the new valve-horn mechanism. In this case, the French horn player Henri Chaussier provided the impulse. He had developed a novel “Cor omnitonique” and wanted to demonstrate the merits of his instrument with Saint-Saëns’ composition. Chaussier’s invention did not gain acceptance amongst horn players – although the “Morceau de Concert” did! The popular work with one movement is quite demanding technically; however, Saint-Saëns himself already suggested some abridgements and ossias to simplify the piece, meaning that also advanced pupils can venture to play it.
- Morceau de Concert f minor op. 94
The solo compositions for horn by Camille Saint-Saëns (1835 – 1921) reflect the particular history of the instrument and its construction in the 19th century. The fully chromatic valve horn became increasingly widespread from the 1820s onwards, and its new possibilities were immediately exploited by composers such as Schumann, Wagner, Halévy and Meyerbeer. … 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
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.