ฝัง
- เผยแพร่เมื่อ 24 พ.ย. 2024
- The first, second and fourth movements are from the Suite for cello and piano Op. 16 (1862)
I. Prélude (1862 orch. 1919) 0:00
II. Sérénade (1862 orch. 1919) 2:05
III. Gavotte (1919) 5:30
IV. Romance (1862 orch. 1919) 8:50
V. Tarantelle (1919) 14:50
Performed by Maria Kliegel (cello) and the Bournemouth Sinfonietta conducted by Jean-Francois Monnard.
On retrouve ici cette élégance et ce raffinement si habituels chez Saint-Saëns.
We find here the elegance and refinement so usual at Saint-Saëns. Thanks a lot Rodders !
Oui !!! Je découvre saint saens, et je dois dire que tout ce que j'ai écouté me plait beaucoup !! Les concerto piano, violon, les symphonies, les pièces pour piano, cette vidéo..
Je suis bluffé par la qualité de toutes ses compositions !!
Absolutely gorgeous composition in a beautiful performance. Originally for cello/piano duet, the later orchestral arrangement turns it into something inexplicably more profound. Written in 1862 and returned to by the composer in 1919, the span, strangely enough, almost matches Debussy's lifetime, a coincidence I'm sure. There is also an interesting parallel with Saint-Saens' former pupil, Faure, in the Serenade whose graceful elegance would no doubt have influenced the younger composer....
1. Prelude 00:00
2. Serenade 02:07
3. Gavotte 05:32
4. Romance 08:54
5. Tarantella 14:52
Thank you for posting this fine performance of this superb suite of Saint-Saens. I read where Saint-Saens felt that the final section of the original cello and piano version was just to "Pianistic" as he termed it that he decided to replace it with the current tarantella. When I first came upon this orchestrated version, I was so hoping to hear how he would have tackled the final movement, which was not meant to be.
Sweet work. Sorry to see Max Merry is always from a few years ago. Hope you are OK, Max!