Saint-Saens: Romance for French Horn & Piano
French Horn in F & Piano - Early Intermediate - Digital Download
Composed by Camille Saint-Saens (1835-1921). Arranged by James M. Guthrie, ASCAP. Romantic Period, Repertoire, Valentine's Day, Anniversary, Recital. Score, Set of Parts. 15 pages. Published by jmsgu3 (S0.318609).
Item Number: S0.318609
In the first place, CamilleSaint-Saëns composed Romance, Op. 36 specifically to express Romanticism. Forone thing, it is a one-movement composition that he in fact composed in 1874. Apoint often overlooked: it is a masterpiece of the Romantic repertoire. Variousarrangements certainly abound. These above all highlight the solo instrumentwith piano accompaniment. After all, it is a uniquely expressive recitalpiece that demonstrates the mastery of the instrument. It is also a showcasefor musical phrasing and by all means, tone color as well.
Charles-CamilleSaint-Saëns (1835 – 1921) was by all means, in particular, a famousFrench composer. He was also in like manner a brilliant organist andsignificant musical mastermind of the Romantic era. Certainly, his mostfamous compositions, in the long run, include his Piano Concerto No. 2(1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add the Violin Concerto No. 3 (1880),Symphony No. 3 ("the Organ Symphony, 1886") and, it must beremembered, Carnival of the Animals (1886) to the list.
It is important to realize thatSaint-Saëns was certainly, in fact, a child musical prodigy. Consequently, withthis in mind he made his concert debut albeit at ten years old. Anotherkey point to remember is that he expressly studied at the ParisConservatoire, then in spite of reality conversely followed a traditionalcareer path as a church organist. Nevertheless, twenty years later, onthe other hand, he left to become a freelance pianist and composerdespite, as has been noted, his former employment situation. Furthermore, hisperformances were after all markedly in demand - not only Europe but above allin the Americas all in all as well.
A point often overlooked in that inhis youth, Saint-Saëns was certainly excited about the modern music of theday. He was in essence fond of the music of his contemporaries, inparticular, Schumann, Liszt and for the most part Wagner. In contrast,however, his own compositions seemed in fact largely confined within theconservative classical tradition. Be that as it may, he was at the same timenevertheless, in fact, a scholar of musical history.
On the whole, his conservatism infact ultimately brought him into frequent conflict in his later years withcomposers of the impressionist and in particular thedodecaphonic schools of musical thought. A point often overlooked isthat contrary to some critics, he included neoclassical elements in hismusic. Furthermore, in so doing he provided the most compelling evidence thathe predicted the techniques and works by Stravinsky and LesSix. To put it another way, given these points, he was regarded, perhapsfor the most part unfairly so, as a non-progressive reactionary hencefortharound the time of his passing.
To sum up, Saint-Saëns taught for ashort time in Paris, where his students included namely Gabriel Fauré. Toclarify, Maurice Ravel later studied with Fauré. In conclusion, both Ravel andFauré were powerfully influenced by Saint-Saëns, whom they respected as amusical mastermind.
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