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Showing 1 to 9 of 9 for “"Saint-Saëns"”.
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A Transcription of Op. 94 Morceau de Concert, by Camille Saint-Saëns For Solo Bass Trombone and Brass Ensemble
The transcription is an addition to the repertoire for brass ensemble and bass trombone. Consideration is given to the nineteenth-century orchestration treatises of Berlioz and Strauss as well as the twentieth-century texts of Erik Leidzén, Walter Piston, and Samuel Adler. The transcription process …
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An Analysis of the Styles of C. Saint-Saëns and W. A. Mozart with Emphasis on Their Clarinet Compositions
… better understanding Wolfgang Mozart and Camille Saint-Saëns and their clarinet compositions. The study of these compositions has been in connection with the preparation for their performance in a Graduate Recital by the writer. The two composers studied in this project represent two periods of …
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A musical discussion and analysis of romance sans paroles by three French composers : Charles-Francois Gounod, Camille Saint-Saens and Gabriel Faure
… composers, Charles-François Gounod, Camille Saint-Saëns, and Gabriel Fauré. The Romance Sans Parole genre seems to be quite unknown in the piano field; as a result, there are few secondary sources available. By immersing myself in these scores, I sought to discover their musical value and …
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The mezzo-soprano onstage and offstage: a cultural history of the voice-type, singers and roles in the French Third Republic (1870–1918)
… works such as Bizet’s Carmen (1875), Saint-Saëns’ Samson et Dalila (1877), and Massenet’s Werther (1892) were enshrined in the operatic repertoire. Focusing primarily on five mezzo-sopranos — Célestine Galli-Marié (1840–1905), Blanche Deschamps-Jehin (1857–1923), Meyriane Héglon …
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Comparative philology, French music, and the composition of Indo-Europeanism from Fétis to Messiaen.
… Composers discussed include Bourgault-Ducoudray, Saint-Saëns, Séverac, Roussel, and Emmanuel. This root system flourishes in the music of Olivier Messiaen, whose rhythmic technique is revisited in light of manuscript materials. From his borrowings of early Indian metres (deśītālas) through his …
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The piano quintet: Influence of medium on genre
… of contemporaneous works by, among others, Saint-Saëns, Bruch and Coleridge-Taylor. The study then draws on significant twentieth-century examples by Shostakovich, Schnittke, Ginastera, Xenakis and Feldman, as well as more recent works, by Messiaen, Carter, Goehr and Adès. As will be shown, …
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On Colonial Textuality and Difference: Musical Encounters with French Colonialism in Nineteenth-Century Algeria
… Salvador Daniel (1831-1871) and Camille Saint-Saëns (1835-1921)--are presented as case studies to understand the complexities and tensions that arose out of the colonial moment and to examine how each figure negotiated his own compositional style, musical career and artistic identity …
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Scholasticism and Formal Structure in Camille Saint-Saëns's Fugues for Keyboard
… the relation between the fugue d’école and Saint-Saëns’s compositional practices with reference to his fugal works for piano and organ and sets out to answer the question: To what extent are the formal and tonal structures of Saint-Saëns’s fugues determined by the organizational conventions …
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Camille Saint-Säens' Piano Concerto No. 5 in F Major, Opus 103: An Analytical Study of Form, Compositional Techniques, and a Performance Perspective
The majority of books about Saint-Säens cover his life, compositions, contemporaries, and French music in general. Although his life is well documented, most sources present only brief analyses of his works; there is not one single comprehensive and exhaustive study of the Piano Concerto in F …