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Jul 4, 2019 · Originally, Saint-Saëns composed The Swan for solo cello accompanied by two pianos. (It has since been arranged many times, including for cello and one piano as seen in the video above.)
Saint-Saëns' use of keyboard instruments – piano (scored for both two and four hands at various places) and the organ – are unusual additions to the orchestration for a late-Romantic symphony. Following Saint-Saëns' own explanation provided in the program notes he wrote for the London premiere, the decision to include both organ and piano ...
Although Saint-Saëns was dubbed "the French Beethoven", and his Variations on a Theme of Beethoven in E ♭ (1874) is his most extended work for unaccompanied piano, he did not emulate his predecessor in composing piano sonatas.
The Piano Concerto No. 5 in F major, Op. 103, popularly known as The Egyptian, was Camille Saint-Saëns' last piano concerto. He wrote it in 1896, 20 years after his Fourth Piano Concerto, to play himself at his own Jubilee Concert on May 6 of that year. This concert celebrated the fiftieth anniversary of his début at the Salle Pleyel in 1846.
- Introduction and Royal March of the Lion. A bold and stately introduction, fit for the king of the jungle. Piano tremolos with dark and brooding strings open the introduction before a dramatic piano glissando heralds the arrival of the roaring ruler.
- Hens and Roosters. Persistent pecking is immediately brought to mind when the piano and violins begin their incessant staccato quavers, interrupted by irregular chirrups.
- Wild Donkeys (Swift Animals) Saint-Saëns portrays the skittishness of wild donkeys with a hurricane of racing semiquavers, played in octaves by two pianos.
- Tortoises. Ah, to be a slow-moving tortoise lazing around in the afternoon sun. Saint-Saëns was really having a laugh when he wrote this one. Over pulsing piano chords, in a triplet rhythm, a string quartet plus double bass plays an agonisingly slow rendition of Jacques Offenbach’s Can-Can from his opera Orpheus in the Underworld.
Althought, He followed by Stamaty’s technique, taught playing the hand and fingers, giving all its energy to the piano keys, and resting the arm. Claudio Arrau remembed the ease with which Saint-Saëns played all of his life. Saint-Saëns began to write music early, and he lived a long life.
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The piano theme that follows was borrowed from a choral ‘Tantum ergo’ by the composer’s pupil Fauré with the unflattering explanation, ‘Give it to me and I’ll make something of it!’ (Their friendship nonetheless lasted some 60 years until Saint-Saëns’s death in 1921.)
