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836:, perhaps precisely because it leans toward a more active virtuosity. There's a similar attention to outward appearances in the choice of themes, which are oriental only in a derivative sense; a matching melodic contour that even extends to using a motif common to both pieces; and a similarity in the timbral relationships between the piano and the orchestra."
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252:: in October 1891, an arrangement for two pianos was the first to be published, orchestral parts were prepared in November, the piano solo version was completed in December, and the orchestral score appeared in February 1892. In a letter to Durand, Saint-Saëns described the work as a derivative of the
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Despite Saint-Saëns's apprehensions about the piece's performance challenges, Roger-Miclos enthusiastically took on the work, expressing her confidence in her ability to master it. The premiere was held on 25 October 1891 at the
Concerts du Châtelet in Paris, performed by Roger-Miclos and conducted
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of the piano. Saint-Saëns, who was an exceptional pianist himself, clearly wrote the piece to show off the talents of the pianist. The varying timbres, textures, and tempi also demonstrate the piece's virtuosity; in correspondence, Saint-Saëns has also highlighted the "lightness" and "suppleness"
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also praised Marie-Aimée Roger-Miclos, the dedicatee, for her performance of the work, highlighting "her delicate and light hands" in the finale, "pianissimos of an exquisite velvety-softness," and "elements kept in the shadows needed for preserving the quasi-dreamlike, even veiled character of
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which draws heavily from North
African influences. Saint-Saëns began the composition in March 1891 while he was in Cairo and completed it within a month, though continuing working on the orchestration in Algiers in June. The score was first published in Paris by his longtime publisher
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The third part forms a second rondo-like arch. With its binary, well-balanced rhythms, Theme G has a bombastic quality that makes it easy to remember. Like theme E, G becomes more lyrical later in G'. Theme A returns and is momentarily superimposed on themes E and G.
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is scored for solo piano and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 cornets, 3 trombones, timpani, triangle, cymbals, and strings. Saint-Saëns also made arrangements of the piece for two pianos and for piano solo.
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The third part also introduces Themes H and I, which pass quickly but add a folk-like quality to the overall atmosphere. These motifs bring a sense of playfulness and tranquility amidst the aggressive musical elements. Theme H is developed almost as if by
684:. Themes A can then be heard beneath G, followed by Theme E in thick chords. This forceful progression of Themes A, E, and G is momentarily offset by a softer return of the lighter Theme F, played
816:: "These African-Arabian motives, this geographical music, delivered especially in such large doses, really are of less interest to the public who attend these concerts." Likewise, the
769:(1903), and New York (1906). In much of his correspondence during this period, Saint-Saëns frequently expressed his satisfaction with the piece and its performances, proclaiming that
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in thirds. The piece concludes with a rapid return of the aggressive motifs A, E, and G, followed by the lighter motif F, and finally ends with seven percussive G-major chords.
373:, a North African multi-movement music form. The piano and orchestra often alternate their articulation of the theme or its fragments, creating a varied sonic landscape.
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and calls for outstanding technical virtuosity, agility, and a certain lightness of touch from the soloist, also reflecting Saint-Saëns's own formidable pianistic skill.
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The premiere on 25 October 1891 was met with great acclaim, and subsequent performances took place around the globe, Saint-Saëns even considering it a signature work.
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reported that Saint-Saëns performed his works "in the most consummate manner imaginable under his masterful hands" but that did not make them "any more interesting."
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Jann Pasler, the work can be divided into four parts and contains several distinct themes, which he tags as "A" through "I." The themes display a range of moods and
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features various
African musical elements that are incorporated into a European compositional framework. Parts of the piece are written in what is likely the
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In the final part, Saint-Saëns explores the virtuosic capabilities of the piano once more, accentuating light and nimble playing. The section opens with an
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praised the composition for its "exquisite finesse", its "captivating and stylish finish", and its "truly ingenious details in the orchestration".
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section, a rhythmic motif (Theme C) presents a structure over which Saint-Saëns expresses himself freely with rapid octave descents and arpeggios.
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The piano part is highly virtuosic and demands technical brilliance and agility from the performer. The piece features rapid passages, intricate
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was less well received, perhaps also due to political resentments. Following a performance in Berlin in
October 1906, which also included the
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With the second part of the piece, the focus shifts to the more aggressive themes E and G. These motifs are intended to be performed
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of the oboe's high A, and the rhythmic ostinato on weak beats in the low register. These four themes give rise to a quasi-closed
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recording made on 26 June 1904, where Saint-Saëns improvises on the work's cadenza, gives an idea of his pianistic technique.
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piece is marked by its mosaic-like structure and interplay of various themes, blending
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was played in April 1893 in
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Ladjili, Myriam (1995). "La musique arabe chez les compositeurs français du XIXe siecle saisis d'exotisme (1844-1914)".
588:, generating an assertive, aggressive atmosphere. However, this aggressiveness eventually dissipates as it modulates to
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and create the mosaic-like structure of a fantasia. They vary from aggressive (E and G), which are to be played
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Camille Saint-Saëns, 1835–1922: A Thematic
Catalogue of his Complete Works, Volume 1: The Instrumental Works
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in G major, alluding to a "swarm of drunken wasps". Theme F also serves to prepare the assertive theme G.
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is among the first compositions that were recorded featuring its composer as the soloist; a
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contemplated suicide. Saint-Saëns had made a commitment to compose a new piece for pianist
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melody. It is performed slower and is more lyrical, offering a stark contrast in
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are also introduced to portray
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s premiere was a triumph for Saint-Saëns. A reviewer for the journal
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between the piano and other instruments. He then introduces Theme B (
773:"fits me like a glove, I play it effortlessly, without worry". When
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Boutarel, Amédée (1 December 1901). "Revue des grands concerts".
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begins with an interpretation of a tune heard by Saint-Saëns in
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1636:. Rororo Rowohlts Monographien (in German). Reinbek: Rowohlt.
258:, Op. 60, and expressed his hope that it might overshadow his
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International Review of the
Aesthetics and Sociology of Music
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accompaniment and a simple repeating rhythm in the low bass.
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441:. The theme, which is based on the musical traditions of the
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1491:. Quadrige (Nouvelle éd ed.). Paris: PUF. p. 762.
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In Germany, where Saint-Saëns had not been for many years,
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Theme F is a complex motif primarily consisting of triplet
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of the piano part contains sketches of an African scene
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Theme D is distinguished by its dance-like melody, the
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178:. Composed in 1891 during a stay in Egypt, this
781:nonetheless deemed it quintessentially French.
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1588:. Routledge Music Bibliographies. New York:
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761:was performed around the world, including
592:and transforms into a variant, E', marked
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1685:International Music Score Library Project
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2382:Concertante works by Camille Saint-Saëns
1585:Camille Saint-Saëns: A Guide to Research
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16:1891 fantasia for piano and orchestra
2392:Compositions for piano and orchestra
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412:G → G → B' → H → G' → H → I → F → G
1011:L'orchestre du Capitole de Toulouse
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2412:Piano music by Camille Saint-Saëns
1984:Introduction and Rondo Capriccioso
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879:Recordings of the work include:
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102:February 1892 (orchestral score)
96:November 1891 (orchestral parts)
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819:Allgemeine musikalische Zeitung
1528:Ratner, Sabina Teller (2002).
1154:Orchestra of Radio Luxembourg
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1489:La musique française de piano
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1182:London Philharmonic Orchestra
981:Bergen Philharmonic Orchestra
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1043:Royal Philharmonic Orchestra
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488:major, characterized by its
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302:Royal Philharmonic Orchestra
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2159:The Carnival of the Animals
1632:Stegemann, Michael (1988).
1013:Toulouse Capitol Orchestra
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174:for piano and orchestra by
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1769:Mon cœur s'ouvre à ta voix
1615:Princeton University Press
1607:Pasler, Jann, ed. (2012).
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99:December 1891 (piano solo)
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2095:Suite for Cello and Piano
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2083:Piano Quartet in E major
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791:certain Moorish songs."
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226:Marie-Aimée Roger-Miclos
195:Marie-Aimée Roger-Miclos
146:Marie-Aimée Roger-Miclos
84:Marie-Aimée Roger-Miclos
2397:Compositions in G minor
1582:Flynn, Timothy (2003).
1536:Oxford University Press
1487:Cortot, Alfred (1981).
765:(1893), London (1913),
337:download the audio file
2402:Music with dedications
1950:Piano Concerto No. 5 (
1651:Smith, Rollin (1992).
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858:Improvised cadenza on
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48:Cover of first edition
2003:Violin Concerto No. 3
1977:Violin Concerto No. 1
1971:Violin Concerto No. 2
1874:Symphony in F major (
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924:Jean-Jacques Kantorow
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2017:Cello Concerto No. 2
1997:Cello Concerto No. 1
1936:Piano Concerto No. 4
1930:Piano Concerto No. 3
1924:Piano Concerto No. 2
1918:Piano Concerto No. 1
1730:List of compositions
1681:Africa (Saint-Saëns)
1129:Tapiola Sinfonietta
808:Ernst Eduard Taubert
800:fifth piano concerto
502:harmonic progression
474:and creates Western
260:Rhapsodie d'Auvergne
235:Battling his severe
2189:Violin Sonata No. 2
2152:Violin Sonata No. 1
1721:Camille Saint-Saëns
1448:, pp. 246–247.
1436:, pp. 394–396.
1385:, pp. 239–241.
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919:Tapiola Sinfonietta
883:
644:, evoking a dance:
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232:of any importance.
222:Camille Saint-Saëns
216:Camille Saint-Saëns
176:Camille Saint-Saëns
113:Piano and orchestra
36:Camille Saint-Saëns
2201:Cello Sonata No. 2
2134:Piano Quartet in B
2128:Cello Sonata No. 1
2049:Le Rouet d'Omphale
2025:Cyprès et lauriers
1761:Samson and Delilah
1753:La princesse jaune
1745:Le timbre d'argent
1655:. Stuyvesant, NY:
1339:, p. 239-241.
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2267:The Promised Land
2091: (1855/1857)
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1666:978-0-945193-14-2
1643:978-3-499-50389-4
1624:978-0-691-15555-5
1599:978-0-8153-3619-8
1545:978-0-19-816320-6
1498:978-2-13-037278-3
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1504:
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1464:. p. 381.
1450:
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1422:Stegemann 1988
1414:
1412:, p. 253.
1399:
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1387:
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1266:
1264:, p. 393.
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1239:
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1224:
1208:
1207:
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1199:
1198:
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1189:
1187:Geoffrey Simon
1184:
1179:
1178:Gwendolyn Mok
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733:
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2168:
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2162: (1886)
2161:
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2156:
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2150:
2147:
2144:
2141:
2132:
2129:
2126:
2123:
2121:
2117:
2114:
2107:Serenade in E
2105:
2102:
2099:
2096:
2093:
2090:
2089:Piano Quintet
2087:
2084:
2081:
2080:
2078:
2076:Chamber music
2074:
2067:
2066:
2062:
2059:
2058:
2057:Danse macabre
2054:
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2046:
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2018:
2015:
2012:
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1125:Laura Mikkola
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717:cross-rhythms
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56:
52:
45:
40:
37:
33:
29:
26:
22:
19:
2333:
2308: (1908)
2303:
2289: (1896)
2284:
2270: (1913)
2265:
2262: (1878)
2257:
2254: (1875)
2249:
2246: (1858)
2241:
2227: (1921)
2221: (1921)
2215: (1921)
2209: (1915)
2203: (1905)
2197: (1897)
2191: (1896)
2185: (1891)
2179: (1887)
2174:
2165:
2157:
2154: (1885)
2148: (1881)
2142: (1875)
2130: (1871)
2124: (1871)
2119:
2115: (1865)
2103: (1864)
2097: (1862)
2085: (1853)
2068: (1880)
2063:
2060: (1874)
2056:
2052: (1872)
2047:
2029: (1919)
2024:
2019: (1902)
2013: (1887)
2008:
2005: (1880)
1999: (1872)
1993: (1866)
1987: (1863)
1982:
1979: (1859)
1973: (1858)
1956: (1896)
1952:The Egyptian
1951:
1946: (1891)
1942:
1941:
1938: (1875)
1932: (1869)
1926: (1868)
1920: (1858)
1896: (1886)
1891:
1886: (1859)
1880: (1856)
1875:
1870: (1853)
1853: (1911)
1848:
1845: (1905)
1840:
1837: (1904)
1832:
1829: (1901)
1826:Les barbares
1824:
1821: (1895)
1816:
1813: (1893)
1808:
1805: (1890)
1800:
1797: (1887)
1792:
1789: (1883)
1784:
1781: (1879)
1776:
1759:
1756: (1872)
1751:
1748: (1865)
1743:
1652:
1633:
1609:
1584:
1558:
1554:
1530:
1507:
1488:
1482:
1470:
1461:Le Ménestrel
1459:
1453:
1441:
1429:
1417:
1390:
1344:
1332:
1306:Ladjili 1995
1301:
1242:
1222:, p. 5.
1107:Paul Murphy
1079:Sakari Oramo
1048:André Previn
1029:88843013272
976:Louis Lortie
878:
869:
868:
859:
829:
824:
817:
811:
804:The Egyptian
803:
795:
793:
787:Le Ménestrel
785:
783:
774:
770:
758:
754:
747:
746:
725:
714:
708:
707:
685:
681:
677:
669:
667:
653:
638:
627:
613:
593:
555:
551:
549:
531:
519:
513:
479:
476:counterpoint
463:
458:
430:
429:
378:
360:
354:
347:musicologist
344:
317:
313:
312:
306:André Previn
292:
264:
259:
253:
240:
234:
219:
203:
190:
188:
186:techniques.
162:
161:
160:
24:
18:
2235:Vocal music
2213:Oboe Sonata
1991:Cello Suite
1561:(1): 3–33.
1475:Pasler 2012
1446:Pasler 2012
1434:Ratner 2002
1410:Pasler 2012
1395:Ratner 2002
1383:Pasler 2012
1364:Pasler 2012
1349:Pasler 2012
1337:Pasler 2012
1325:Pasler 2012
1294:Pasler 2012
1277:Ratner 2002
1262:Ratner 2002
1247:Pasler 2012
1235:Ratner 2002
1116:CD QSS 262
1091:CDA67331-2
986:Neeme Järvi
600:and a long
371:Arabic Nuba
230:composition
180:concertante
2376:Categories
2297:Film score
2195:Barcarolle
1861:Symphonies
1818:Frédégonde
1794:Proserpine
1786:Henry VIII
1534:. Oxford:
1512:Smith 1992
1220:Flynn 2003
1204:References
905:Catalogue
896:Conductor
893:Orchestra
840:Recordings
678:fortissimo
598:arabesques
556:fortissimo
464:ad libitum
447:syncopated
420:piano G →
388:A → piano
365:, to more
362:fortissimo
237:depression
139:Performers
80:Dedication
2251:Le Déluge
2010:Havanaise
1904:Concertos
1876:Urbs Roma
1842:L'ancêtre
1590:Routledge
1197:CACD1015
1170:CD3X3028
1141:BISCD790
998:CHSA5162
828:wrote of
813:Die Musik
810:wrote in
763:Cambridge
702:autograph
514:Rhythmic
468:modulates
300:with the
170:89, is a
90:Published
2340:Category
2207:Cavatine
2167:Le cygne
2137:♭
2122:, Op. 37
2110:♭
1850:Déjanire
1087:Hyperion
1060:5862452
967:8573477
936:BIS2400
585:♭
579:♭
573:♭
567:♭
561:♭
534:melismas
516:ostinati
485:♭
351:textures
318:nawâthar
274:Analysis
245:fantasia
199:movement
172:fantasia
131:Location
118:Premiere
72:Composed
32:Fantasia
2316:Related
2286:Javotte
2259:Requiem
2120:Romance
1802:Ascanio
1522:Sources
994:Chandos
899:Length
682:marcato
674:octaves
670:Animato
656:tremoli
590:G major
552:marcato
461:cadenza
390:cadenza
356:marcato
208:History
110:Scoring
57:G minor
2352:Portal
2278:Ballet
2146:Septet
1943:Africa
1834:Hélène
1810:Phryné
1737:Operas
1663:
1640:
1621:
1596:
1575:836963
1573:
1542:
1495:
1191:11:05
1162:11:02
1135:10:58
1052:10:48
1021:10:24
959:11:26
928:10:32
902:Label
890:Piano
874:78 rpm
870:Africa
860:Africa
830:Africa
796:Africa
779:critic
775:Africa
771:Africa
759:Africa
748:Africa
732:Legacy
726:Africa
709:Africa
570:, F, A
492:-like
482:) in E
435:Biskra
431:Africa
379:Africa
314:Africa
304:under
293:Africa
241:Africa
191:Africa
163:Africa
25:Africa
2140:major
2113:major
1964:Other
1911:Piano
1571:JSTOR
1194:Cala
1175:1993
1146:1997
1121:1997
1110:9:35
1096:2001
1083:9:47
1065:2001
1034:2004
1003:2014
990:9:54
972:2015
963:Naxos
941:2017
910:2022
887:Year
751:'
721:range
538:rondo
498:tempo
494:tonal
134:Paris
1661:ISBN
1638:ISBN
1619:ISBN
1594:ISBN
1540:ISBN
1493:ISBN
1138:BIS
1113:ASV
1025:Sony
700:The
642:Bach
554:and
490:folk
409:III
400:E →
367:folk
359:and
321:mode
243:, a
123:Date
75:1891
63:Opus
1563:doi
1166:Vox
932:BIS
806:),
576:, B
564:, E
472:key
417:IV
397:II
266:by
168:Op.
54:Key
34:by
2378::
1659:.
1617:.
1592:.
1569:.
1559:26
1538:.
1402:^
1371:^
1356:^
1313:^
1284:^
1269:^
1254:^
1227:^
1212:^
728:.
604:.
385:I
327::
166:,
67:89
2354::
2027:)
1954:)
1894:)
1878:)
1771:"
1767:"
1713:e
1706:t
1699:v
1669:.
1646:.
1627:.
1602:.
1577:.
1565::
1548:.
1501:.
802:(
422:A
402:A
339:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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