Bücher von Camille Saint-Saens

Mit freudigem Brüllen eröffnet der Löwe das Musikspektakel, das Eichhörnchen schwingt als Dirigent den Taktstock und die Hühner können es kaum erwarten, ihren einstudierten Gesang vorzutragen. Fröhliche Ballettmusik lässt Elefant und Schildkröten das Tanzbein schwingen. Äußerst taktvoll ist die lustige Hüpfeinlage der Kängurus. Die Leoparden brillieren wie jedes Jahr als Pianisten. Tapfer ertragen die Gäste Vogelgezeter und schrilles Getriller der Flöten. Am Abend feiern alle Tiere gemeinsam ein buntes Sommerfest. Die fröhliche Fantasie des Komponisten Camille Saint-Saëns (1835-1921) wird für Kinder ab fünf Jahren von Bert Alexander Petzold neu erzählt und ist von der libanesischen Künstlerin Maya Akiki farbenfroh und stimmig illustriert. Der Buchausgabe liegt eine CD mit einer inszenierten Lesung mit Luca Zamperoni und mit Geräuschen sowie dem ungekürzten Originalstück bei. Der Titel erscheint innerhalb der Serie »Große Klassik kinderleicht. DIE ZEIT-Edition«.

On The Execution Of Music, And Principally Of Ancient Music: A Lecture (1915) is a book by the renowned French composer, Camille Saint-Saens. The book is a transcript of a lecture that Saint-Saens gave in 1915 on the subject of music execution, with a particular focus on ancient music.In the book, Saint-Saens discusses the importance of understanding the historical context of music in order to properly execute it. He explores the differences between modern and ancient music, and how these differences should inform the way in which the music is played.Saint-Saens also delves into the technical aspects of music execution, such as tempo, dynamics, and phrasing. He provides practical advice for musicians on how to approach these elements in order to bring out the best in the music.Throughout the book, Saint-Saens draws on his extensive knowledge and experience as a composer and performer to provide insights into the art of music execution. The book is a valuable resource for musicians and music lovers alike who are interested in understanding the nuances of music performance.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Bei Saint-Saëns' Doppelbegabung als Pianist und Komponist lag es nahe, sich schon früh mit der Gattung Klavierkonzert auseinanderzusetzen. Dem damals in Frankreich vorherrschenden Typus des "Concerto brillant" erteilte er eine klare Absage: "Das Solo eines Konzerts muss wie eine dramatische Rolle angelegt und behandelt werden". Dieses Konzept des "symphonischen Konzerts" lässt sich sehr gut bei seinem 1868 entstandenen 2. Klavierkonzert nachvollziehen. Der Solopart ist technisch sehr anspruchsvoll und gleichzeitig dicht mit dem Orchester verbunden. Für den Klavierauszug - auf der Basis der vom Komponisten selbst stammenden Fassung für zwei Klaviere - zeichnet Johannes Umbreit verantwortlich, für den Fingersatz der Solopartie Pascal Rogé.

Started in 1867 and first conceived of as an oratorio, Camille Saint-Saëns completed his most famous opera Samson et Dalila in 1877 with the encouragement of Franz Liszt. It was Liszt who arranged to have the opera staged in Weimar. The story focuses around Dalila and her seduction of Samson to learn the secret of his strength. She is portrayed as a manipulative women bent on revenge. The Bacchanale, known more as a concert piece, is in act 3 and depicts the Priests of the temple in a wild savage dance after the capture of Samson. This new beautifully engraved score by Richard W. Sargeant, Jr. of one of Saint-Saëns's most famous and beloved works, is truly tempting. IMSLP page (opera) Wikipeida article (opera)

The second of four tone poems for orchestra inspired by those of Franz Liszt, Phaeton was composed in 1873 and like its predecessor is named after a figure in Greek mythology. The tragic tale concerns Phaeton, the son of Helios (the Sun God) and Clymene, who separated from Helios and subsequently married to mortal king. Seeking assurance that the sun god was his true father, Phaeton obtained permission from Helios to drive his sun chariot. Unable to control the chariot and in danger of destroying the earth, the unfortunate Phaeton was killed by a bolt from Zeus to avert disaster. The score presented here is a newly engraved edition prepared by Richard W. Sargeant, Jr. IMSLP page All Music Guide

The first in a series of tone poems for orchestra inspired by those of Franz Liszt, Le rouet de Omphale was composed in 1872 and named for the story in Greek mythology where Heracles was sentenced for a year to do women's work, wear women's clothing and hold a basket of wool as Omphale and her maids were spinning. The work become quite popular in the early 20th century after its use as a theme for The Shadow radio program. The score presented here is a newly engraved edition prepared by Richard W. Sargeant, Jr. IMSLP page Wikipedia article