Piano concertos nos 2 and 4

In this volume, pianists and music lovers will find authoritative full-score editions of two of the composer's most popular piano concertos, works frequently performed since their premieres, and often recorded to this day: "Piano Concerto ...

Author: Camille Saint-Saëns

Publisher: Courier Corporation

ISBN: 9780486287232

Category: Music

Page: 275

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Throughout much of his long, highly productive career, Camille Saint-Saens (1835 1921) occupied a dominant position in French music. Admired for his masterly command of orchestration and high standards of form, style, and workmanship, Saint-Saens wrote for the piano in an elegant, virtuoso style. In this volume, pianists and music lovers will find authoritative full-score editions of two of the composer's most popular piano concertos, works frequently performed since their premieres, and often recorded to this day: "Piano Concerto No. 2 in G Minor, Op. 22, "and" Piano Concerto No. 4 in C Minor, Op. 44. "In the tradition of the great composer/pianists of his time, Saint-Saens was the soloist for the premieres of both works in Paris: of No. 2 in 1868, and of No. 4 in 1875. The scores of these concert favorites have been reprinted from the authoritative editions published by Durand et Cie, Paris. "
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The Cambridge Companion to the Concerto

1 in A minor, Op. 33 1874: Anton Rubinstein, Piano Concerto No. 5 in E flat, Op. 94 1874-5: Pyotr Il'yich Tchaikovsky, Piano Concerto No. 1 in B flat minor, Op. 23 1875: Camille Saint-Saens, Piano Concerto No. 4 in C minor, Op. 44 1876: ...

Author: Simon P. Keefe

Publisher: Cambridge University Press

ISBN: 9781139827263

Category: Music

Page:

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No musical genre has had a more chequered critical history than the concerto and yet simultaneously retained as consistently prominent a place in the affections of the concert-going public. This volume, one of very few to deal with the genre in its entirety, assumes a broad remit, setting the concerto in its musical and non-musical contexts, examining the concertos that have made important contributions to musical culture, and looking at performance-related topics. A picture emerges of a genre in a continual state of change, re-inventing itself in the process of growth and development and regularly challenging its performers and listeners to broaden the horizons of their musical experience.
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Sviatoslav Richter

16, 42, 257 Piano Concerto no. 3 in C major op. 26, 42, 77 Piano Concerto no. 4 in B flat major op. 53, 227 Piano Concerto no. 5 in G minor op. 55, xxvi, 41, 43, 72, 77-8, Io2, 196, 20I, 264–5, 334 Piano Sonata no. 2 in D minor op.

Author: Bruno Monsaingeon

Publisher: Princeton University Press

ISBN: 9780691095493

Category: Music

Page: 464

View: 919

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Sviatoslav Richter was a dazzling performer but an intensely private man. Though world famous and revered by classical music lovers everywhere, he guarded himself and his thoughts as carefully as his talent. Fascinated, author and filmmaker Bruno Monsaingeon tried vainly for years to interview the enigmatic pianist. Richter eventually yielded, granting Monsaingeon hours of taped conversation, unlimited access to his diaries and notebooks, and, ultimately, his friendship. This book is the product of that friendship. Richter reveals himself as a man and an artist. Unsentimentally and with his characteristic dry humor and intelligence, the musician describes his poignant childhood and spectacular career, including his tumultuous early days at the Moscow Conservatory and his triumphant 1960 tour of the United States. His laconic recounting of playing in the orchestra at Stalin's surreal, interminable state funeral is riveting. Most important for music lovers, Richter discusses his influences and views on musical interpretation. He describes his encounters with other great Russian performers and composers, including Prokoviev, Shostakovich, Oistrakh, and Gilels. Candid sections from his personal journals offer his sober and unguarded impressions of dozens of performances and recordings--both his own and those of other musicians. This volume offers readers the sizable pleasure of lingering in the thoughts and words of one of the most important pianists of the twentieth century. Unlike many other star performers, Richter was also an intellectual who had interesting things to say, particularly about the musician's proper role as interpreter of the composer's art. This alone makes the book worth reading. Sviatoslav Richter belongs on the shelves of everyone with a classical music collection and will also appeal to lovers of autobiography and admirers of Russian musical culture.
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Music Criticism in Nineteenth Century France

... Antonio : Arvire et Evelina : Geoffroy on , 10n , 12 Edipe à Colonne : Geoffroy on , 11 Saint - Saëns , Camille : Piano Concerto no . 3 in E - flat Op . 29 : as Lisztian , 217 Piano Concerto no . 4 in C minor Op . 44 : Bannelier on ...

Author: Katharine Ellis

Publisher: Cambridge University Press

ISBN: 0521454433

Category: Music

Page: 301

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In particular, Dr Ellis considers the music journalism of the Revue et Gazette musicale de Paris, the single most important specialist periodical of the mid nineteenth century, explaining how French music criticism was influenced by aesthetic and philosophical movements.
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Camille Saint Sa ns and His World

56), 161 Mort de Thaïs, La, 37–38, 42, 44, 46nn27–29 Muse et le poète, La (op. ... 17), 62, 66, 73, 75–76, 87, 91, 143–45, 147, 150, 171n1, 339, 339–41, 343–44, 344, 347, 351 Piano Concerto no. 2 in G Minor (op ... 4 in C Minor (op. 44) ...

Author: Jann Pasler

Publisher: Princeton University Press

ISBN: 9781400845101

Category: Music

Page: 440

View: 264

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A revealing look at French composer and virtuoso Camille Saint-Saëns Camille Saint-Saëns—perhaps the foremost French musical figure of the late nineteenth century and a composer who wrote in nearly every musical genre, from opera and the symphony to film music—is now being rediscovered after a century of modernism overshadowed his earlier importance. In a wide-ranging and trenchant series of essays, articles, and documents, Camille Saint-Saëns and His World deconstructs the multiple realities behind the man and his music. Topics range from intimate glimpses of the private and playful Saint-Saëns, to the composer's interest in astronomy and republican politics, his performances of Mozart and Rameau over eight decades, and his extensive travels around the world. This collection also analyzes the role he played in various musical societies and his complicated relationship with such composers as Liszt, Massenet, Wagner, and Ravel. Featuring the best contemporary scholarship on this crucial, formative period in French music, Camille Saint-Saëns and His World restores the composer to his vital role as innovator and curator of Western music. The contributors are Byron Adams, Leon Botstein, Jean-Christophe Branger, Michel Duchesneau, Katharine Ellis, Annegret Fauser, Yves Gérard, Dana Gooley, Carolyn Guzski, Carol Hess, D. Kern Holoman, Léo Houziaux, Florence Launay, Stéphane Leteuré, Martin Marks, Mitchell Morris, Jann Pasler, William Peterson, Michael Puri, Sabina Teller Ratner, Laure Schnapper, Marie-Gabrielle Soret, Michael Stegemann, and Michael Strasser.
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Bending the Rules of Music Theory

28, no. 9 147 Prelude in E minor, op. 28, no. 4 212 Prelude in F major, op. 28, no. 23 263 Scherzo no. 1 in B minor, op. 20 292 Clementi Piano Sonata in F minor, op. 13, no. 6, mvt. 2 178 Corelli Concerto Grosso in C minor, op. 6, no.

Author: Timothy Cutler

Publisher: Routledge

ISBN: 9781351069151

Category: Music

Page: 314

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For students learning the principles of music theory, it can often seem as though the tradition of tonal harmony is governed by immutable rules that define which chords, tones, and intervals can be used where. Yet even within the classical canon, there are innumerable examples of composers diverging from these foundational "rules." Drawing on examples from composers including J.S. Bach, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Brahms, and more, Bending the Rules of Music Theory seeks to take readers beyond the basics of music theory and help them to understand the inherent flexibility in the system of tonal music. Chapters explore the use of different rule-breaking elements in practice and why they work, introducing students to a more nuanced understanding of music theory.
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The Finale in Western Instrumental Music

No. 8 in B minor , ' Unfinished ' , D. No. 1 in C major , Op . 49 199 , 205-7 , 211 , 759 112-14 216 No. 9 in C major , D. 944 ... 200 , Piano Concerto in A minor , Op . 54 178 223-4 Piano Quintet in E flat major , Op . 44 96-8 , No.

Author: James and Constance Alsop Professor of Music Michael Talbot

Publisher: Oxford University Press on Demand

ISBN: 0198166958

Category: Music

Page: 249

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The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types of finale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata, string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at the finales of all Shostakovich's string quartets, in which examples of most of the types may be found.
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Graphic Music Analysis

9, 31 Piano Quintet in E-flat Major, op. 44, 151–53 Paganini, Niccolò Caprice in A Minor, op. 1, no. 24, 172–73 Saint-Saëns, Camille Piano Concerto No. 4 in C Minor, op. 44, I, 198 Schubert, Franz Die Stadt from Schwanengesang, D. 957, ...

Author: Eric Wen

Publisher: Rowman & Littlefield

ISBN: 9781538104675

Category: Music

Page: 390

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This book approaches Schenkerian analysis in a practical and accessible manner fit for the classroom, guiding readers through a step-by-step process. It is suitable for advanced undergraduates and graduate students of musicology, music theory, composition, and performance, and it is replete with a wide variety of musical examples.
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