Camille Saint-Saëns - Spartacus Overture (1863-69) скачать в хорошем качестве

Camille Saint-Saëns - Spartacus Overture (1863-69)

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). Please support my channel: https://ko-fi.com/bartjebartmans Spartacus Overture in E-flat major (1863-69) Ensemble Orchestral de Paris conducted by Jean-Jacques Kantorow In 1852, Saint-Saëns’s Ode de Sainte-Cécile won first prize at the competition of the Société de Sainte-Cécile in Bordeaux. In 1857, his symphony Urbs Roma, obtained another first prize at the competition. Interestingly, his close friend Georges Bizet completed a similarly titled symphony around this time. From 1861 to 1865 he was a piano teacher at the Niedermeyer School where he had Gabriel Fauré, André Messager and Eugéne Gigout as pupils. The concert overture Spartacus won the 1863 competition organized by the Société Sainte-Cécile of Bordeux, winning unanimous praise from the judges. However, his second attempt at the Prix de Rome that same year resulted in another failure. Ironically, the conservatory judges felt that he had too much experience as a composer. Spartacus is an early example of Saint-Saëns innovative use of form and thematic transformation, traits he likely gleaned from the works of Franz Liszt. The overture also represents Saint-Saens fondness for subjects from classical antiquity as evidenced by an 1867 work for a competition the cantata Les Noces de Prométhée, and his Scène d’Horace of 1861. The Spartacus Overture may have been the start of an opera, but if so it was never taken up. As a work unto itself, the overture merits study as an early forerunner of the symphonic poem and as a fine work. While Spartacus was not the earliest example of thematic transformation, it is Saint-Saëns’s first attempt at it and, perhaps, the earliest example from a French composer. It was also a prelude to his later symphonic poems that would begin with La Rouet d’ Omphale from 1871. The symphonic poem became an outgrowth of the opera overture, taking literary subjects for inspiration.