Indeed, the First Cello Concerto is renowned for its condensation of the conventional concerto's three-movement format into an organically compact single movement of about 20 minutes. A virtuoso pianist himself, Saint-Saëns played a significant role in introducing all five of Beethoven's piano concertos to skeptical French audiences. In fact, the whole enterprise is so successful that I have no reservations at all in recommending it. Such feats of showmanship were simply taken for granted in a musical life marked by extraordinary productivity-not to mention longevity. Contrast is a salient feature of the rest of the piece, which behaves somewhat like a rondo.
The triplet theme from the first movement, now in the orchestra, opens the finale. Those are qualities that should stand him in good stead here. Another possible influence on the work was the death in January 1872 of his beloved great-aunt Charlotte at the age of ninety-one, after which he cancelled all engagements for a month. Just when it seems like this will be the new key, the opening triplet idea sounds again in the cello, but on D major, and development of the first and second themes ensues. Written in 1905, it reflects the growing conservatism that isolated the composer in his later years. Fast-flowing triplets come to a pause on a rising and falling half-step. While Saint-Saëns uses the finale mainly as a recapitulation of earlier material, he concludes it with the introduction of an entirely new idea for the cello.
The music is tremendously demanding for soloists, especially in the fast third section. They turn in passionately involved readings that probably have something—but not everything—to do with the presence of a live audience. Saint-Saëns very often uses the solo cello here as a declamatory instrument. The recordings of the pieces with piano accompaniment are equally powerful but have a finer sense of the hall. In a flash, agitated strings of flowing triplets bring a recapitulation of the opening motifs. When the cello enters, it first sounds alone before the orchestra begins the minuet again beneath the cello's countermelody. Though his output was enormous, ranging across all the major genres-he was even an early pioneer of the film score-only a handful of these works has remained an active part of the repertory.
Some analysts have described the work as a single, sonata-form movement with a free recapitulation, while others have suggested the work is a three-movement structure with shared material between the first and last movements. Piovano may lend even more welcome advocacy to the Second Sonata. The fillers are a mix of the rare and the instantly recognisable. After the cello takes up the minuet tune, there is a cadenza for the soloist, which leads to fragments of the minuet theme in different harmonies, finally settling on B flat as the Allegro tempo returns. Formally, the Cello Concerto in A minor is an extension of the technique used for the much earlier Violin Concerto in A major of 1859.
Descharmes is equally receptive, those unsettling chords and dark harmonies exploited to the full. Marked Allegro non troppo, the first movement begins with an aggressive melody built of triplets from the solo cello. Yet it is beautifully written and has a number of appeals, including a cleverly conceived scherzo-cum-variations second movement, a melting slow movement, and a graciously flowing finale. Tempo and key change as a lyrical interlude provides passage to an enchanting middle section-an embedded slow movement-in which muted strings supply a sweet minuet accompaniment while the cello, playing high in its register, affably joins in the serenade. Piano reduction with solo part. Saint-Saëns fashions an arresting coda for the concerto.
This segment is a delicate minuet with a narrow-range and stately melody. Along with the solo cello, the concerto is scored for an orchestra consisting of 2 , 2 , 2 , 2 , 2 , 2 , and. The composer's long lifespan entailed an epic journey from the heyday of romanticism through the birth pangs of modernism and the trauma of the First World War. Instead of using the normal three-movement form, he structured the piece in one continuous. Some of the sonorities are startling, and Soustrot, alive to such shifts, makes the most of them. Composed by Camille Saint-Saens 1835-1921.
? Anybody wanting both Saint-Saëns's Cello Concertos and La muse et le poète really doesn't need to look any further. The folksong-centred Rhapsodie d'Auvergne, which belongs in the first category, really deserves to be better known. Consistency is the keynote here, from natural phrasing and well-judged tempi to believable balances and the kind of caught-on-the-wing music-making that one associates more with live concerts than studio sessions. It encompassed the revolutionary new music of Liszt and Wagner, which he boldly championed, and the breakthroughs of Debussy and Stravinsky. This was considered a mark of Saint-Saëns' growing acceptance by the French musical establishment. We make no guarantee that the files provided for download, viewing or streaming on this site are public domain in your country and assumes no legal responsibility or liability of any kind for their copyright status. The work has secured a spot as one of the best-loved of 19 th-century concertos.
He wrote this work for the Belgian cellist, viola de gamba player and instrument maker Auguste Tolbecque. In the concerti, the sound is close and rather dry; I would have preferred more air around both the soloist and the orchestra, though the recording does pack a lot of punch. The opening triplet theme and the third theme of the first movement introduce the coda, which contains new material and closes the piece in A major. This single movement contains three distinct sections. And here, again, this release scores very highly. Tolbecque's premiere of the Cello Concerto in January 1873 in Paris also marked an important turning point in establishing Saint-Saëns' own reputation as a composer. A winning partnership in every way; roll on Volume 3! The Orchestra del Teatro Marrucino deserves praise too.
It was early in this period that Saint-Saëns wrote the Cello Concerto No. Unobtrusively and from its depths, the soloist inserts a lyrically fresh but subtly related motif into the picture. After a rest just long enough for the cellist to take a breath, the second section, Allegretto con moto, begins with the orchestra. Those sections, tightly-structured, share interrelated ideas. As for the Malmö band, I shall always be indebted to them for their authentic Ives with James Sinclair. The lyrical, meditative theme for the cello that follows is accompanied by the triplet figure in the orchestra. Dispensing with preliminary fuss, the orchestra yields center stage to the cellist immediately following a brisk opening chord.