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Camille Saint-Saëns: Romances - Horn And Piano

Camille Saint-Saëns: Romances - Horn And Piano

Camille Saint-Saëns composed his two Romances for Horn for two of the most respected French horn players of the time: Opus 67 in E major from 1866 is dedicated to Henri Chaussier; Opus 36 in F major from 1874 was written for Henri Garigue. Despite the illustrious recipients, they are not virtuosic showpieces but ? as the term Romance suggests ? short ?Songs without words? that fully savour the typical romantic sound of the horn. Alongside the orchestral version, Saint-Saëns also prepared a piano accompaniment for chamber music performances. Due to the fact that they are not overly technically demanding the Romances are also suitable for advanced students.

DKK 186.00
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Camille Saint-Saëns: Romances - Horn And Piano (Violoncello Version)

Camille Saint-Saëns: Romances - Horn And Piano (Violoncello Version)

Camille Saint-Saëns composed his two Romances for Horn for two of the most respected French horn players of the time: Opus 67 in E major from 1866 is dedicated to Henri Chaussier; Opus 36 in F major from 1874 was written for Henri Garigue. Despite the illustrious recipients, they are not virtuosic showpieces but ? as the term Romance suggests ? short ?Songs without words?. Alongside the orchestral version, Saint-Saëns also prepared a piano accompaniment for chamber music performances. The first editions even also had an alternative part for Violoncello, on which this edition is based.

DKK 186.00
1

Camille Saint-Saëns: Sonata For Violoncello And Piano No. 2 In F Op. 123

Camille Saint-Saëns: Sonata For Violoncello And Piano No. 2 In F Op. 123

**Please note: This title is not available for sale outside of the UK and Commonwealth.** Camille Saint-Saëns ' Sonata For Violoncello And Piano No. 2 In F Op. 123 . Henle urtext edition with marked and unmarked string part. After  Camille Saint-Saëns ' first Cello sonata of 1872 (HN1057) gained fast popularity, the publisher requested a second sonata for this scoring. It was only in March 1905, in the mild climate of Algeria, that Saint-Saëns finally relented and composed a large sonata with four movements.  Saint-Saëns personally believed his Sonata For Violoncello And Piano No. 2 In F Op. 123 to be superior to his first and even thought its third movement, the “Romanza”, was an equivalent to the famous “Swan” in the “Carnival of the Animals” (HN943). Despite this, the work is still overshadowed by the first sonata, not least because the second places greater technical and artistic demands on cellists. This Henle Urtext edition is the first ever text-critical edition of the work and offers cellists a chance to rediscover this composition.

DKK 350.00
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Camille Saint-Saëns: Allegro Appassionato Op. 43 For Violoncello And Piano (Henle Urtext Edition)

Camille Saint-Saëns: Allegro Appassionato Op. 43 For Violoncello And Piano (Henle Urtext Edition)

**Not for sale outside of the UK and Commonwealth** Camille Saint-Saëns Allegro Appassionato Op. 43 for Cello and Piano. Urtext edition score. At the beginning of the 1870s, Saint-Saëns displayed a particular partiality for the Violoncello. He composed his first Cello sonata in December 1872, immediately after having completed the first Cello concerto. It was presumably directly after this that he wrote the Allegro Appassionato for Cello and Piano op. 43 that also appeared in a version for Orchestra three years later. We do not know why he wrote the work, but it is likely that after having written two weighty works for Cello, Saint-Saëns wanted to write something “easier” that was also suitable as an encore. In this Henle Urtext edition, David Geringas has kindly provided the fingering and bowing for the brilliant Cello part.

DKK 130.00
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Camille Saint-Saëns: Cavatine Op.144

Camille Saint-Saëns: Cavatine Op.144

Camille Saint-Saëns was always trying to expand the rather sparse repertoire for chamber music for wind instruments, something that is not least also shown by his three late wind sonatas for oboe, clarinet and bassoon respectively (HN 964, 965, 966). The Trombone also came into its own as a solo instrument with the Cavatine, composed in 1915. It displays here its lyrical, romantic side. To date the Cavatine, an effective recital piece, is a milestone in the solo literature for advanced Trombone players. This Henle Urtext edition is the first to take into account also the autograph in Paris.

DKK 164.00
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Camille Saint-Saëns: Piano Concerto No. 2 In G Minor Op. 22

Camille Saint-Saëns: Piano Concerto No. 2 In G Minor Op. 22

A talented pianist and composer, it stood to reason that Camille Saint-Saëns would engage with the Piano concerto genre early on, particularly as, in France, the 'concerto brilliant' was very popular at that time. Saint-Saëns did indeed begin to compose his own concertos, however; he gave a clear renunciation of the 'concerto brilliant', declaring instead that 'the solo part of a concerto must be set out, and treated, like a dramatic role'. He realised this concept of a 'symphonic concerto'; in his Piano Concerto No.2 In G Minor , composed in 1868. The solo part is technically very challenging, and at the same time closely bound up with the Orchestra. Johannes Umbreit is responsible for the Piano reduction, based on the composer's own version for Two Pianos; Pascal Rogé supplies the fingerings for the solo part.

DKK 298.00
1

Camille Saint-Saens: Clarinet Sonata Op.167 (Urtext)

Camille Saint-Saens: Clarinet Sonata Op.167 (Urtext)

For Henle's Urtext edition of the Clarinet Sonata op. 167, they were able to consult the autograph for the first time. "At the moment I am putting my last ounce of energy into giving seldom considered instruments an opportunity to be heard", Saint-Saëns wrote to a friend in April of the year he died. A sonata for oboe, one for clarinet and one for bassoon were thus composed; yet he was not to hear the premieres. As far as form and infl ection are concerned, the three wind sonatas op. 166 - 168 hark back to the gallant style of the 18th century and thus approach the neoclassicism movement around 1920. Humour, wit and fine irony characterise these works for wind.

DKK 203.00
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Camille Saint-Saens: Oboe Sonata Op.106 (Urtext)

Camille Saint-Saens: Oboe Sonata Op.106 (Urtext)

The Oboe Sonata Op. 166 was the first of three Wind sonatas that Saint-Saëns wrote in his final year. Throughout his life he had been more familiar with Keyboard and Stringed instruments, so the composer this time found himself in rather unfamiliar territory. Yet he instantly hit upon the inflections and special characteristics of these instruments. To ensure that the parts reflected the technical and tonal idiosyncrasies of each instrument, he asked advice of Wind soloists of his acquaintance before publication. His Sonata Op. 166 met with the highest approval of the oboist; a passage in a letter bears witness to this: “It went like clockwork”. We were able to consult the autograph for the first time for this Urtext edition.

DKK 186.00
1

Camille Saint-Saëns: Sonata No.1 In C Minor Op.32

Camille Saint-Saëns: Sonata No.1 In C Minor Op.32

At the beginning of the 1870s, Camille Saint-Saëns showed a particular fondness for the Violoncello. He completed his first Cello Sonata in December 1872, immediately after finishing his first Cello Concerto. The sonata is strongly reminiscent of Beethoven, not only due to the key of c minor but also predominantly on account of its gripping dramatic art. The exceptional position of this demanding, in parts highly virtuosic sonata was quickly recognised by the public and critics and so the work soon found its way into concert repertoire. Henle's Urtext edition takes all surviving sources into account ? for the first time ever. Pascal Rogé and David Geringas kindly provided the markings for the Piano and Cello parts.

DKK 302.00
1

Camille Saint-Saens: Elephant - The Carnival Of The Animals (Double Bass/Piano)

Camille Saint-Saens: Elephant - The Carnival Of The Animals (Double Bass/Piano)

Camille Saint-Saens' Elephant is a delightful miniature from The Carnival Of The Animals and is one of the few works that are attractive to learners and accomplished players alike. Its many musical and technical challenges have earned it a permanent place in the teaching repertoire, yet it offers soloists a welcome opportunity to demonstrate their prowess and espirit, even in the low register.The ease with which a great composer accurately and skilfully probes the idiosyncracies of this largest of string instruments for expressive purposes - a combination of features seldom encountered in the double bass repertoire - is truly impressive. All the more astonishing, therefore, that the Elephant, although widely known, is relatively rarely heard in the concert hall.This Urtext edition of the score has been edited with critical commentaries, as well as fingering and bowing of the double bass part, by Tobias Glockler. The accompaniment is notated in E flat and F, and so the double bass can perform using either solo tuning or orchestra tuning.

DKK 104.00
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Camille Saint-Saëns: The Swan - Cello/Piano (Urtext)

Camille Saint-Saëns: The Swan - Cello/Piano (Urtext)

Charles-Joseph Lebouc organised the première of this work and also played the cello part. With the composer's permission, he then adapted this sonorous romance, accompanied by two pianos in the original, for Violoncello and one Piano.Henle are presenting the first ever Urtext edition of this popular cello work. The second Piano part is reproduced in small print, thus permitting a comparison of the two versions. Two Cello parts are provided, one with markings, and one without.

DKK 121.00
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Gabriel Faure: Sonata No.1 for Violin and Piano in A Major

Gabriel Faure: Sonata No.1 for Violin and Piano in A Major

Fauré composed his Violin sonata in 1875/76 and in so doing opened up a new tradition for this genre in French music. In a review, Saint-Saëns expressed his enthusiasm for this work by his friend and pupil: "In this sonata you can find everything to tempt a gourmet: new forms, excellent modulations, unusual tone colours, and the use of unexpected rhythms. And a magic floats above everything, encompassing the whole work, causing the crowd of usual listeners to accept the unimagined audacity as something quite normal. With this work Monsieur Fauré takes his place amongst the masters."

DKK 276.00
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Maurice Ravel: Piano Trio

Maurice Ravel: Piano Trio

As with all of his mature chamber music works Ravel also emerges as an innovator of traditional forms and techniques in his piano trio, composed in 1914. Thus the ?Passacaglia? movement corresponds to the underlying form of the Baroque Period. The music on the other hand was, according to Ravel, ?like that of Saint-Saëns?, which was surely meant ironically. For the historicizing template only served as a framework for experiments with musical idiom: from a constant oscillation between major and minor to combinations and overlaying of the most diverse metres. The fingering for our edition of this technically extremely demanding work was provided by the renowned French pianist Pascal Rogé.?

DKK 328.00
1

Alexandre Guilmant: Morceau Symphonique Op. 88 And Morceau De Lecture (Trombone/Piano)

Alexandre Guilmant: Morceau Symphonique Op. 88 And Morceau De Lecture (Trombone/Piano)

Alexandre Guilmant was one of the greatest representatives of the French Romantic organ school, and composed almost exclusively for his instrument. A rare exception is this “Morceau symphonique”, written in 1902 for the Paris Conservatoire’s annual trombone class competition. The charming piece soon found its way into the repertoire – as did Saint-Saëns’s “Cavatine” (HN 1119) – and is today among the essential standard works of trombone literature. The “Morceau symphonique” is here offered in its first-ever Urtext edition, based on the autograph and the first edition. We also offer here a particularly special treat – the sight-reading piece that Guilmant wrote for the same competition, which had until now slumbered in the archives and is here published for the very first time.

DKK 160.00
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