Informationen zu "Camille Saint-Saëns Arr: David Heyes The Swan Double Bass & Piano"
Verlag: Recital Music
Verlagsnummer: RM963
EAN: 9790570459636
ISMN: M-57045-963-6
Beschreibung
This edition includes one piano part and three solo bass parts - one in G
major for orchestral tuning and two in F major (high and low) for solo
tuning. In 1855 Camille Saint-Saëns (1835-1921) published 'Harmonie et
Melodie', a collection of critical writings which contained his own 'Gallic
scepticism' and academic attitude to the music and cult-like status of Wagner
and Bayreuth. The book and its reviews hardly went unnoticed in Germany, and
in January 1886, during Saint-Saëns' German tour as composer and pianist, he
met a degree of hostility from the press and public alike. His biographer,
Bonnerot, noted that 'it was as much to forget this affront as to rest from
the tour' that in February Saint-Saëns visited a small town in Austria to
recuperate. He had taught at the École Niedermeyer in Paris from 1861-65 and
always intended to write a work for his pupils there, but the lack of time
had always prevented him from doing so. Now he had the time and 'The Carnival
of the Animals' was written as a method of relaxation. Subtitled 'Grande
Fantasie Zoologique', it has fourteen movements, is scored for two pianos and
chamber ensemble, and is a rare work of musical humour which never fails to
thrill its audience, young or old. The first performance was on 9 March 1886
at the annual Shrove Tuesday concert organised by cellist, Charles Joseph
Lebouc, Emile de Bailly was the double bassist, and the pianists were Louis
Diemer and the composer himself. A few days later it was played at the
Lentern concert of 'La Trompette', a select Parisian chamber music society,
but was then withdrawn for over thirty years. Saint-Saëns' misgivings about
the popularity of 'The Carnival of the Animals' overshadowing his many other
great achievements was entirely accurate, and it was not released for
publication until after his death in 1921. His will contained the clause: 'I
expressly forbid the publication of any unpublished work, except The Swan,
which may be issued by my usual publishers, M.M. Durand et Cie'. The Swan was
published in 1887 and the complete work in 1922, just over thirty-five years
after its composition. The Swan (Le Cygne) is the thirteenth of the fourteen
movements, creating a moment of calm and beauty before the spirited and
vibrant finale, and was originally scored for cello solo and two pianos.
Piano one has the main accompaniment which is played today and piano two
points the harmonies with arpeggiated chords and the occasional chordal music
or counterpoint. In 6/4 time and in the key of G major, piano one produces a
sparkling and gently undulating accompaniment above which the cello sings its
plaintive and poignant melody. At only 28 bars, this is pure perfection and
it is understandable why the composer allowed this one piece to be published
when he forbade publication of the other movements - he knew a winner when he
wrote one! The Swan has had a varied and exciting life and has been arranged
for many instrumental ensembles. In the 1890s, Louis van Waefelghem adapted
it for viola or viola d'amore and piano, which was published by A.Durand &
Fils (Paris) in 1895. Other editions published by Durand include ones for
solo piano, piano (four hands), violin and piano, flute and piano, clarinet
and piano, piano and harmonium, organ, harp, mandolin and piano, 2 mandolins
and piano, mandolin and guitar, 2 mandolins and guitar, cello and orchestra,
but no version for double bass and piano... In 1922 Durand published a
version for voice and piano, transcribed by J.Samm and with an English
translation by J.N. Scholefield. Gary Karr's 1962 performance of The Swan
with Leonard Bernstein and the New York Philharmonic Orchestra was a seminal
point in the development of the double bass as a solo instrument. Bernstein
introduced the performance noting that it was to be played on 'of all things,
the double bass, that heavy clumsy instrument that we heard a few minutes ago
describing elephants, but this is a double bass with a difference, a double
bass that sings and it is played by Gary Karr who is already, at the age of
twenty, a master of this unlikely instrument...but every once in a while
someone comes along who bowls you over by being able to manage this ungainly
instrument so that it really sings and Gary Karr is one of these...as
graceful a swan as you are ever likely to hear...' Gary plays the piece at
pitch, presumably in F major and in solo tuning, and it is a truly amazing
performance even today, but in 1962 it must have been out of this world for
the audiences and the double bass has never looked back. There are a few
published editions today (IMC/Bärenreiter) and a new edition is in
preparation from Recital Music. Many bassists have recorded it on CD or for
YouTube, sometimes at pitch and sometimes an octave lower than the cello
version, but it works in any range or key and demonstrates that the double
bass is a singing instrument, whatever other musicians and even some
bassists, say. Lasting around three minutes, this is the most perfect
transcription which always connects with an audience. I wonder what
Saint-Saëns would have written for the double bass if he had heard Gary
Karr's performance in 1962? A sonata or two and a concerto at least. If
only.... [David Heyes / 18 June 2017]
