Music: Camille Saint-Saens - Sinfonia No. 3 - Orquesta Sinfonica Juvenil de Caracas - Director Dietrich Paredes - Data - Bio - 3 Vid
Posted by Ricardo Marcenaro | Posted in Music: Camille Saint-Saens - Sinfonia No. 3 - Orquesta Sinfonica Juvenil de Caracas - Director Dietrich Paredes - Data - Bio - 3 Vid | Posted on 21:17
Sinfonia No. 3 de Saint-Saens.
1er mov
Adagio - Allegro - Moderato
Orquesta Sinfonica Juvenil de Caracas
Organo: Pablo Castellanos
Director: Dietrich Paredes
Sala Simon Bolivar, CASPM
23/10/10
It is a great playing, love it.
Wonderful director and orchestra.
Wonderful director and orchestra.
rm
Symphony No. 3 (Saint-Saëns)
The Symphony No. 3 in C minor, Op. 78, was completed by Camille Saint-Saëns in 1886 at what was probably the artistic zenith of his career. It is also popularly known as the Organ Symphony, even though it is not a true symphony for organ, but simply an orchestral symphony where two sections out of four use the pipe organ. Though it is frequently listed, even on record and CD covers, as a symphony for orchestra "and organ", the composer inscribed it as: Symphonie No. 3 "avec orgue" (with organ).
Of composing the work Saint-Saëns said "I gave everything to it I was able to give. What I have here accomplished, I will never achieve again."[1] The composer seemed to know it would be his last attempt at the symphonic form, and he wrote the work almost as a type of "history" of his own career: virtuoso piano passages, brilliant orchestral writing characteristic of the Romantic period, and the sound of a cathedral-sized pipe organ.
The symphony was commissioned by the Royal Philharmonic Society in England, and the first performance was given in London on 19 May 1886, at St James's Hall, conducted by the composer. After the death of his friend Franz Liszt on 31 July 1886, Saint-Saëns dedicated the work to Liszt's memory. The composer also conducted the French premiere in January 1887.[2]
Structure
The symphony usually lasts for about 35 minutes, not longer than 40 minutes.
One of the most outstanding and original features of the piece is the ingenious use of keyboard instruments: piano scored for both two and four hands at various places and an organ. The symphony also makes innovative use of cyclic thematic material. Saint-Saëns adapted Liszt's methods of thematic transfiguration, so that the subjects evolve throughout the duration of the symphony.
Although this symphony seems to follow the normal four-movement structure, and many recordings break it in this way, it was actually written in two movements: Saint-Saëns intended a novel two-movement symphony. The composer did note in his own analysis of the symphony, however, that while it was cast in two movements, "the traditional four movement structure is maintained".
Instrumentation and score
The symphony is scored for a rather large orchestra comprising 3 flutes (1 doubling piccolo), 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, bass drum, piano (two and four hands), organ, and strings.
Adagio – Allegro moderato – Poco adagio
Allegro moderato – Presto – Maestoso – Allegro
The first movement, after a slow introduction, leads to a theme of Mendelssohnian character, followed by a second subject of a gentler cast, with various secondary themes played in major, and soon after repeated in minor forms; chromatic patterns play an important role in both movements. This material is worked out in fairly classical sonata-allegro form, and gradually fades to a quieter mood, which becomes a slightly ominous series of plucked notes in cello and bass, ending on a G pitch, followed by a slow and soft sustained A flat note in the organ, resolving into the new key of D flat for the Poco Adagio section of the movement. This evolves as a beautiful dialogue between organ and strings, recalling the earlier main theme of the movement before the recapitulation. The movement ends in a quiet morendo.
The second movement opens with an energetic strings melody, which gives way to a Presto version of the main theme, complete with extremely rapid scale passages in the piano. The Maestoso is introduced by a full C major chord in the organ. Piano four-hands is heard at the beginning with the strings, now playing the C major evolution of the original theme. The theme is then repeated in powerful organ chords, interspersed with brass fanfares. (A remarkable parody of the Dies Irae[which?] has been seen there.[by whom?]) This theme might actually have been inspired by the anthem Ave Maria attributed to Jacques Arcadelt and recently reworked by Franz Liszt (S.659).
This well-known last movement is of considerable variety, including polyphonic fugal writing and a brief pastoral interlude, replaced by a massive climax of the whole symphony characterised by a return to the introductory theme in the form of major scale variations. The lowest pedal notes of both the Poco Adagio and the Maestoso, played on the organ, are of almost inaudibly low frequency. When experienced live in a concert hall equipped with a large concert organ with 32-foot pedal stops (e.g. the Royal Albert Hall Organ) these notes are very dramatic and give a deeply impressive aural experience.[opinion]
Modern interpretations
The main theme of the Maestoso was later adapted and used in the 1977 pop-song "If I Had Words" by Scott Fitzgerald and Yvonne Keeley. The Maestoso movement is also included in the soundtrack of the film Impressions de France, which plays in the France pavilion at Epcot at the Walt Disney World Resort. The song and the symphony were used as the main theme in the 1995 family film Babe and its 1998 sequel Babe: Pig in the City and can be heard in the 1989 black comedy, How to Get Ahead in Advertising. The piece is also featured in the Blue Stars Drum and Bugle Corps 2008 show "Le Tour: Every Second Counts" in the finale. The tune of the symphony also serves as the national anthem of the micronation of the Empire of Atlantium under the name "Auroran Hymn". Although not included in the soundtrack, the Maestoso movement can be heard along with Dvořák's 9th Symphony in Emir Kusturica's film Underground.
The composer Philip Sparke created a brass band test piece based on the symphony which was then assigned to Fourth Section bands for the National Brass Band Championships of Great Britain in 2010.
Performances
The French premiere was on 9 January 1887, conducted by the composer, at a concert of the Société des Concerts.[2]
The United States premiere was given on 19 February 1887, conducted by Theodore Thomas, at the Metropolitan Opera House, New York.[2]
The symphony was performed by the BBC Symphony Orchestra at the 2009 BBC Proms season as the finale to a concert celebrating the 800th anniversary of the University of Cambridge, as the composer was awarded an honorary doctorate by the university in 1893.[3] In the 2011 season, it was performed again by the BBC National Orchestra of Wales.
Recordings
The symphony continues to be a frequently performed and recorded part of the standard repertoire.
Eugene Ormandy and the Philadelphia Orchestra recorded the Symphony No. 3 twice, with Virgil Fox and Michael Murray as the respective organists.
Simon Preston made a recording in 1986 with James Levine conducting the Berlin Philharmonic Orchestra for Deutsche Grammophon.[4]
References
^ Camille Saint-Saëns quoted in David Dubal, The Essential Canon of Classical Music, New York, 2003, p. 337.
^ a b c BSO Program Notes[not in citation given]
^ Proms 27 July 2009
^ Deutsche Grammophon Catalog
http://en.wikipedia.org/wiki/Symphony_No._3_%28Saint-Sa%C3%ABns%29
The Symphony No. 3 in C minor, Op. 78, was completed by Camille Saint-Saëns in 1886 at what was probably the artistic zenith of his career. It is also popularly known as the Organ Symphony, even though it is not a true symphony for organ, but simply an orchestral symphony where two sections out of four use the pipe organ. Though it is frequently listed, even on record and CD covers, as a symphony for orchestra "and organ", the composer inscribed it as: Symphonie No. 3 "avec orgue" (with organ).
Of composing the work Saint-Saëns said "I gave everything to it I was able to give. What I have here accomplished, I will never achieve again."[1] The composer seemed to know it would be his last attempt at the symphonic form, and he wrote the work almost as a type of "history" of his own career: virtuoso piano passages, brilliant orchestral writing characteristic of the Romantic period, and the sound of a cathedral-sized pipe organ.
The symphony was commissioned by the Royal Philharmonic Society in England, and the first performance was given in London on 19 May 1886, at St James's Hall, conducted by the composer. After the death of his friend Franz Liszt on 31 July 1886, Saint-Saëns dedicated the work to Liszt's memory. The composer also conducted the French premiere in January 1887.[2]
Structure
The symphony usually lasts for about 35 minutes, not longer than 40 minutes.
One of the most outstanding and original features of the piece is the ingenious use of keyboard instruments: piano scored for both two and four hands at various places and an organ. The symphony also makes innovative use of cyclic thematic material. Saint-Saëns adapted Liszt's methods of thematic transfiguration, so that the subjects evolve throughout the duration of the symphony.
Although this symphony seems to follow the normal four-movement structure, and many recordings break it in this way, it was actually written in two movements: Saint-Saëns intended a novel two-movement symphony. The composer did note in his own analysis of the symphony, however, that while it was cast in two movements, "the traditional four movement structure is maintained".
Instrumentation and score
The symphony is scored for a rather large orchestra comprising 3 flutes (1 doubling piccolo), 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, bass drum, piano (two and four hands), organ, and strings.
Adagio – Allegro moderato – Poco adagio
Allegro moderato – Presto – Maestoso – Allegro
The first movement, after a slow introduction, leads to a theme of Mendelssohnian character, followed by a second subject of a gentler cast, with various secondary themes played in major, and soon after repeated in minor forms; chromatic patterns play an important role in both movements. This material is worked out in fairly classical sonata-allegro form, and gradually fades to a quieter mood, which becomes a slightly ominous series of plucked notes in cello and bass, ending on a G pitch, followed by a slow and soft sustained A flat note in the organ, resolving into the new key of D flat for the Poco Adagio section of the movement. This evolves as a beautiful dialogue between organ and strings, recalling the earlier main theme of the movement before the recapitulation. The movement ends in a quiet morendo.
The second movement opens with an energetic strings melody, which gives way to a Presto version of the main theme, complete with extremely rapid scale passages in the piano. The Maestoso is introduced by a full C major chord in the organ. Piano four-hands is heard at the beginning with the strings, now playing the C major evolution of the original theme. The theme is then repeated in powerful organ chords, interspersed with brass fanfares. (A remarkable parody of the Dies Irae[which?] has been seen there.[by whom?]) This theme might actually have been inspired by the anthem Ave Maria attributed to Jacques Arcadelt and recently reworked by Franz Liszt (S.659).
This well-known last movement is of considerable variety, including polyphonic fugal writing and a brief pastoral interlude, replaced by a massive climax of the whole symphony characterised by a return to the introductory theme in the form of major scale variations. The lowest pedal notes of both the Poco Adagio and the Maestoso, played on the organ, are of almost inaudibly low frequency. When experienced live in a concert hall equipped with a large concert organ with 32-foot pedal stops (e.g. the Royal Albert Hall Organ) these notes are very dramatic and give a deeply impressive aural experience.[opinion]
Modern interpretations
The main theme of the Maestoso was later adapted and used in the 1977 pop-song "If I Had Words" by Scott Fitzgerald and Yvonne Keeley. The Maestoso movement is also included in the soundtrack of the film Impressions de France, which plays in the France pavilion at Epcot at the Walt Disney World Resort. The song and the symphony were used as the main theme in the 1995 family film Babe and its 1998 sequel Babe: Pig in the City and can be heard in the 1989 black comedy, How to Get Ahead in Advertising. The piece is also featured in the Blue Stars Drum and Bugle Corps 2008 show "Le Tour: Every Second Counts" in the finale. The tune of the symphony also serves as the national anthem of the micronation of the Empire of Atlantium under the name "Auroran Hymn". Although not included in the soundtrack, the Maestoso movement can be heard along with Dvořák's 9th Symphony in Emir Kusturica's film Underground.
The composer Philip Sparke created a brass band test piece based on the symphony which was then assigned to Fourth Section bands for the National Brass Band Championships of Great Britain in 2010.
Performances
The French premiere was on 9 January 1887, conducted by the composer, at a concert of the Société des Concerts.[2]
The United States premiere was given on 19 February 1887, conducted by Theodore Thomas, at the Metropolitan Opera House, New York.[2]
The symphony was performed by the BBC Symphony Orchestra at the 2009 BBC Proms season as the finale to a concert celebrating the 800th anniversary of the University of Cambridge, as the composer was awarded an honorary doctorate by the university in 1893.[3] In the 2011 season, it was performed again by the BBC National Orchestra of Wales.
Recordings
The symphony continues to be a frequently performed and recorded part of the standard repertoire.
Eugene Ormandy and the Philadelphia Orchestra recorded the Symphony No. 3 twice, with Virgil Fox and Michael Murray as the respective organists.
Simon Preston made a recording in 1986 with James Levine conducting the Berlin Philharmonic Orchestra for Deutsche Grammophon.[4]
References
^ Camille Saint-Saëns quoted in David Dubal, The Essential Canon of Classical Music, New York, 2003, p. 337.
^ a b c BSO Program Notes[not in citation given]
^ Proms 27 July 2009
^ Deutsche Grammophon Catalog
http://en.wikipedia.org/wiki/Symphony_No._3_%28Saint-Sa%C3%ABns%29
2do mov - Poco Adagio
3er mov - Scherzo
Charles-Camille Saint-Saëns (French pronunciation: [ʃaʁl kamij sɛ̃sɑ̃s]; 9 October 1835 – 16 December 1921) was a French composer, organist, conductor, and pianist of the Romantic era. He is known especially for The Carnival of the Animals, Danse macabre, Samson and Delilah (Opera), Piano Concerto No. 2, Cello Concerto No. 1, Havanaise, Introduction and Rondo Capriccioso, and his Symphony No. 3 (Organ Symphony).
http://en.wikipedia.org/wiki/Camille_Saint-Sa%C3%ABns
Charles Camille Saint-Saëns (París, 9 de octubre de 1835 — Argel, 16 de diciembre de 1921) fue un compositor, director de orquesta, organista y pianista francés de música académica.
Músico muy dotado —fue un virtuoso pianista y también un excelente improvisador al órgano—, espíritu curioso por todo, escritor, caricaturista, gran viajero, Saint-Saëns desempeñó un papel excepcional en la renovación de la música francesa, tanto por su enseñanza —tuvo como alumnos, entre otros, a Gabriel Fauré y a André Messager—, como, sobre todo, por su actividad en favor de la música nueva —fue uno de los fundadores de la «Société Nationale de Musique», destinada a tocar y difundir la música francesa. Puede considerársele un jalón esencial de la renovación que condujo a Claude Debussy y a Maurice Ravel.
Saint-Saëns fue un intelectual multifacético. Desde pequeño se dedicó al estudio de la geología, la arqueología, la botánica y la entomología, específicamente a la rama de los lepidópteros. Fue también un excelente matemático. Además de la actividad musical como compositor, intérprete y crítico, se dedicó a las más variadas disciplinas, y se entretuvo en discusiones con los mejores científicos europeos y escribió doctos artículos sobre acústica, ciencias ocultas, escenografía teatral en la Roma Antigua e instrumentos antiguos. Fue miembro de la Sociedad Astronómica de Francia, poseía un telescopio, y organizaba sus conciertos de tal modo que coincidieran con algunos acontecimientos astronómicos (como eclipses solares). También escribió una obra filosófica, Problemas y misterios, un volumen de poesía, Rimes familières, y la comedia La crampe des écrivains, que tuvo un gran éxito.
Su extensa obra —elaboró más de 400 composiciones, en las que abordó casi todos los géneros musicales— es muy ecléctica, de un gran clasicismo y de una perfección a menudo un poco forzada, lo que ha motivado que se la considere demasiado académica, en Francia, sobre todo. Sin embargo, a menudo es una música de gran belleza, con una gran calidad de escritura. Fue también el primer gran compositor que escribió música para el cine.
Aunque vivió casi siempre en París, se consideraba hijo adoptivo de Dieppe, pequeña ciudad de la Alta Normandía, donde se instaló en 1888. Hoy día su legado se expone en el Château-Musée de dicha localidad, en una sala expresamente dedicada a él, el salón Saint-Saëns.
http://es.wikipedia.org/wiki/Camille_Saint-Sa%C3%ABns
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