Piano Concerto No. 3 (Saint-Saëns)

The Piano Concerto No. 3 in E flat major, Op 29, is a work for piano and orchestra by French composer Camille Saint- Saëns.

Formation

The third piano concerto was written in 1869, just one year after the completion of his second piano concerto. It is found in the outer attachment is larger, both in the screening period, as well as in the cast, which, for example, now includes trumpets. The musical arrangement is much romantic enthusiastic than in the previous concerts, pointing for example to concerts Rachmaninov back. This style change to the previous work is due to the intensive study of the contemporary romantic music of Europe to the creation time. Therefore, the creative process involved much more time than when preceded concert, which was created in just 17 days. The third piano concerto was written, however, in a period of approximately one year. The work is dedicated Élie Miriam Delaborde.

About the Music

Occupation

Solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 3 trombones, 2 trumpets, timpani and strings

1st movement: Moderato assai - Piu mosso

Introduced by silent Arpeggioakkorden of the piano is the horn in front of the main theme. This is given its final shape in a large-scale symphonic structure of piano and orchestra. Hectic figures of the piano and orchestra take the horn motif on back and lead to a calming of the action. A second, somewhat vaguely articulated notion of the piano is on quiet orchestral chords with interesting chromaticism, spread. The piano solo develops this idea now for strong second theme of the movement. The musical message remains elegiac and lyrical indistinct, as later, for example, often occurs with Sergei Rachmaninoff. A new dynamic comes in conducting in the sentence. The orchestra forms with downward movements, which are developed from the main theme. Basis for virtuoso and partially shifted rhythmically interesting idea piano A longer cadenza the piano is terminated by the presentation of the main theme by the flute. Bald is the full orchestra with the first thoughts and accelerates the action, leading to a virtuous end of the long sentence.

2nd movement: Andante

The middle movement begins on a soft pedal point of the orchestra on which the piano developed some ominous -sounding objections. Shortly thereafter you will hear a soft lyrical theme in the strings and is played extensively. Only after some time, the piano still poses a menacing phrases. String tremolos answer these objections. It was not until the return of the lyrical theme in the strings causes a definitive change of mood, as the piano now responds with peaceful and delicate interjections in piano. The cello brings a final twist of the topic, which again attracts threatening objections of double bass and piano by himself and set attacca can pass into the finale at the end of the engaging set.

3rd movement: Allegro non troppo

The CONTINUED directly to the Andante final movement develops its joyous main theme by the piano on loud orchestral chords. A dance second thought is added by the cellos on pounding rhythm of the rest of the orchestra. The spirited show will be changed and repeated before the concert will be a short but triumphant conclusion a few times.

Effect

The first performance took place in 1869 at the Leipzig Gewandhaus under the baton of the composer himself instead. This performance was at a similar failure, as the premiere of the second piano concerto a year earlier in Paris. The German audience was thrilled by the romantic and far too sweeping character of the work bit. To date, the concert less popular than his sister works and is listed rare. Saint- Saëns arranged the piece a few years later for two pianos, as he had done that in his first piano concerto.