Camille Saint-Saëns - Piano Concerto No. 1, Op. 17 (1858) {Pascal Rogé}
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- čas přidán 30. 06. 2024
- Charles-Camille Saint-Saëns (9 October 1835 - 16 December 1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880), the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1886).
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PIano Concerto No. 1 in D Major, Op.17 (1858)
Dedication à Madame Alfred Jaëll (Marie Jaëll)
1. Andante - Allegro assai (0:00)
2. Andante sostenuto, quasi adagio (12:28)
3. Allegro con fuoco (22:57)
Pascal Rogé, piano and the Philharmonia Orchestra conducted by Charles Dutoit
Description by John Palmer [-]
Among Saint-Saëns's pieces written after Viennese Classical-era models are his piano concertos, the first few of which are some of the earliest works in the genre composed in France. Although it was written in 1858, his Piano Concerto No. 1 in D major, Op. 17, was not published until 1875. Through the 1860s Saint-Saëns performed the First Piano Concerto on numerous occasions and later, in 1920, wrote that the piece was inspired by the forest of Fontainebleau. Ten years separate this first concerto from the second, which may explain the adolescent abandon with which Saint-Saëns approaches the concerto, prompting his virtuoso technique to take center stage. With an unusual lack of sensitivity, Saint-Saëns supporter Emile Baumann described the first concerto as "youthful hyperbole; runs, arpeggios of exuberant proportions, an ambitious sortie into grandiose prolixity." Unfortunately, this tells us nothing of the composer's attempt to modify the Classical form of the concerto.
The Introduction to the first movement begins with a hunting call for horn that is taken up and completed by the piano. (Some have likened this theme to that of the Allegro vivace theme of Chopin's F minor Concerto.) Shortly thereafter we hear an idea that becomes the "motto" in this cyclically conceived concerto. This motto also marks off the sections of the first movement, acting as transitional material in a manner that shows Saint-Saëns working symphonic thinking into the concerto format. At times, especially in the middle of the movement, the piano is subservient to orchestra, the overall argument becoming an egalitarian conversation that is hinted at in the introduction when the piano finishes the horn theme.
Antagonism is at the heart of the second movement, in which the first theme, a descending phrase in the orchestra, is broken off several times by chords in the piano. Eventually, the piano wins and moves to a flashy cadenza, unusual for a slow movement. Ornamental trills at the close of the second movement are much more than decorative and serve a harmonic function, a concept pursued by Ravel in his Jeux d'eau of 1901.
In the lighthearted, sonata-form finale the horn calls and the motto theme of the introduction returns in the final measures. The secondary theme of the finale is, at first, very lyrical, but is transformed by the end to create a loud, crashing close. The alternation of chords between the piano and orchestra is the full realization of the implied equality between the forces found in the first movement. This process is also clear in the various presentations of the second theme, which in the first instance is performed in the piano with brief interruptions from the orchestra, but in the recapitulation the roles are reversed, with the orchestra stating the theme against piano outbursts. - Hudba
This was my first CD. :-)) Almost 40 years ago...
The first movement of this is ethereal
Concerto magnifico, assolutamente perfetto nell'architettura musicale e commovente nelle melodie. Impressionante che un essere umano sia riuscito a congegnare una meraviglia del genere.❤
Para mi el mejor de los conciertos para piano de Camille, soberbio !!!!
Very beautiful piano concerto!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Saint Saens è uno dei miei musicisti preferiti.Ragazzo prodigio, le sue sinfonie e i concerti per pf. costituiscono il meglio del romanticismo orchestrale francese,e non solo,insieme a quello di Berlioz.
Come non si possono apprezzare i suoi concerti,cosi' come Bartje li ha caricati?
Ottima la registrazione .Roge' è tecnicamente indiscutibile e la PO lo supporta splendidamente.
Trop naturellement talentueux pour ne pas susciter la jalousie. Dommage pour les amoureux de la musique. Il suffit d’écouter...
Camille Saint-Saëns:1.D-dúr Zongoraverseny Op.17
1.Andante - Allegro assai 00:00
2.Andante sostenuto quasi adagio 12:28
3.Allegro con fouco 22:57
Pascal Rogé-zongora
Londoni Filharmonikus Zenekar
Vezényel:Charles Dutoit
delicate and dramatic masterpiece
2:29 best melody of all time
Beutiful
Calm and strenuous at the same time,,,, 👍🎼💕🎼💕🎼👍
I read somewhere that Saint-Saëns was exhausted after composing his music. Stressing but beautiful music.
21:23 Saint-Saëns' Piano Concerto No. 2 opening.
Well observed !!
Oui, c'est vraiment une beauté. Saint seans glisse souvent parmi ses grandes œuvres de petites mélodies sublime. Son concerto n°5 vers 2 minutes à aussi un belle et sublime mélodie.
G minor and arpeggios, and there the resemblance stops.
Bravo brilliance concerto
It is easy way that we have to hear “an echo of Rubinstein's piano concerto” with this, also his no3.
Very crystal…✨
Pour moi St-Saëns n'est vraiment pas reconnu à sa juste valeur. Magnifiques concertos pour piano, pour violon, pour violoncelle et sublime 3ème symphonie. Il est vrai que son "look" fait trop sérieux. Dommage car pour moi il fait partie des tous meilleurs compositeurs français et même mondiaux.
Totalement d'accord 🙂
同意
Yep
Sublime!!!!!!
Why is it there isn't a single video on CZcams of a pianist playing this live?
Underrated piece
I came to the same realisation yesterday as I tried to find one such live recording. The third movement of this concerto is sheer joy and I wanted to watch it being played. It's a pity we are deprived of this.
If I can discipline myself to learn this concerto, I will make sure it is video-taped live. I'll be in full formal attire just like in the olden days, with coat tails, high neck collar, and choker bow-tie. Please pray for me to that end, as my days on this earth are numbered. Pushing 80. Thank you kindly. 👃🤗🎹🎶🎵
Gracias y saludos cordiales desde Mallorca para ti también bartje bartmam
2:29
Stunning magical wonderful!
¡Hermoso!
Вроде как считается,что мало исполняемые произведения в самом деле неудачны,что есть причина для редкого исполнения. Но тут я так не считаю. Чудесный концерт. Исполняется крайне редко. 2 и 5 концерты его вытеснили из мировой сокровищницы. Напрасно.
Считаю ,что все его концерты великолепны по своему.
The Saint-Saens piano concerti, in my experience, are some of the most glorious expressions of Western art and yet oddly a much underrated, under-performed body of works by the regard of both piano and orchestral repertory scheduling by major symphony orchestras.
I don't understand the contradiction. I'm really weary of the repetitive programming by American orchestras. Perhaps European orchestras are more ecumenical, but here in most U.S. big-city halls, it's Mozart, Beethoven, Schubert, Schumann, Grieg, Tchaikovsky, Dvorak, Sibelius, Rimsky-Korsakoff, Shostakovich & Copland. Ta-da!
With occasional Brahms, Strauss, Borodin, Resphigi, Britten, Mahler, Ravel and John Adams.
Almost never Purcell, Rameau, Handel, Telemann, Saint-Saens, Bizet, Glinka, Bellini, Bartok, Glazunov, Gliere, Satie, Debussy, Nielsen, Field, Khachaturian, Berg, Poulenc, Smetana, Faure, Delibes, Webern, Wagner, Verdi & Puccini (symphonic transcriptions), Scriabin, Holst, Delius, Henze, Gorecki, Hindemith, Foss, Barber, Nono, Revueltas, Weill, Feldman, Janacek, Grainger, Albeniz, Beach, Charpentier, Honneger, Joplin, Carter, Gershwin, Berio, Ginastera, Boulez, Penderecki, Nancarrow, Xenakis, Babbitt, Walton, Boulanger, Da Falla, Kodaly, Partch, Corigliano, Orff, Milhaud, Villa-Lobos, Hindemith, Menotti, Dallapiccola, Cowell, Biebl, Harris, Ives, Harrison, Riley, Ades, Richter or Nythism.
Now, I'll concede that orchestras must do certain things just to stay in existence. But the human imagination, especially when vital tympani of the young are recruited, can balance the decently delightful and dutiful with the daringly dissonant and death-defying, without losing the dainty-deportment of deep-pocketed patrons.
If, for example, the Marketing dept, demands something digestible in Db (major, of course), give them a medium-length work of lyrical grace and propulsive conviction--ostensibly in C# but actually somewhat ambiguous mode from the early Baroque, rich in polyrhythms, peppered with quotations from utterly unexpected composers, all in a work that's punchy but short enough for another gorgeous work (one especially beloved by the most popular board member), to be planned for encore, and which can take its generous time. (You're too hot for your own good--yep, Rameau as scheduled, Barber for the encore.)
Before the performance take the viola section out to a nice dinner, and make sure the wind section used tons of glint.
Voila! We got seventy-five new subscribers for next season, or my name isn't Wolfgang Xenakis Nono.
Very nice recording. Thanks for posting.
What a great picture at the end of the video! Any details on that? Date? Orchestra? Etc. etc.
Me hizo llorar muy bueno
❤❤❤❤❤❤❤❤❤
21:30 , Seems very much of a precursor to #2
I noted the same thing when I came to that passage: the g-minor runs a foretaste of what was to come 10 years later!
I've heard some of these melodies in French songs.....
Why this concerto did not eclipse no. 2 and no.4 (Cortot recorded it as well as Casadesus and many others ) and become the go-to concerto along with Strauss Burlesque I'll never know . I should learn it it sounds good even on a single piano and the orchestral interludes too can be handled by 2 hands . This IZZZ dee GO TO Early-ROMANTIC ERA CONCERTO ! Not Rubinstein not all those others . Mendellsohn ,Chopin ,Hummel - yeah we know .
I regret we have to hear “an echo of Rubinstein's piano concerto” with this no1, also no3.
His 1st concerto sounds like brahms
Also Mendelssohn
At last a piano concerto in radiant D major, tonality avoided by romantic composers.
0:00 is a good place to start. +
2:29 so french!
Why cant the adverts be before and not during the performance. Seems philistine to me !!
I can't change them. It is a CZcams thing.
@@bartjebartmans I understand its not yourself but You Tube that's the culprit. However they could have adverts before not during a performance!
5:48
8:33
I should thank to david garrett.
it feels like mozart
Reynaldo Hahn described Saint-Saens as France's last classicist...
@@erikthenorviking8251 Except Ravel or Debussy? Interesting.. thx
@@user-it5ew3uj5v a classicist is not a different word for composer of classical music. Musicians who play the classical music play music if the last 1000 years. However classicism is also a time period in classical music. Mozart is a prime example of classicism. Together with Haydn and Beethoven. Ravel and Debussy are from different time periods in music and are therefore not classicists but they are still classical composers.
Also like Rubinstein!
@@hansmemling7605 Saint-Saëns is a Romantic.
8:33
2:30