Camille Saint-Saёns wrote his First Violin Sonata in 1885, after having composed three violin concerti and his famous Introduction and Rondo Capriccioso for violin and orchestra. The structure of the sonata is unorthodox: the four movements are paired so that the first two and last two movements are connected, dividing the sonata into two compound movements. The first movement, marked Allegro agitato, is full of tension, agitation, and restlessness. The lyrical second movement, Adagio, expresses nostalgia and Romantic yearning, contrasted by a lighter dancelike central episode. The balletic third movement, Allegretto moderato, dances lightly and gracefully in a breezy triple meter; it recalls the elfin spirit of the famous scherzo from Felix Mendelssohn’s incidental music to Shakespeare’s A Midsummer Night’s Dream (a piece that Saint-Saëns transcribed for piano). The finale, Allegro molto, erupts with a flurry of running sixteenth notes in the violin. The middle section reprises a reminiscence of the lyrical second theme from the first movement, giving the piece a sense of unifying cyclic form. In the coda, Saint-Saëns returns to the rush of the sixteenth notes, this time in simultaneous octaves by the two instruments, leading to a triumphant conclusion. Wen Lei Gu
Classical Music | Violin Music
Camille Saint-Saëns
Sonata No. 1 in d minor for Violin and Piano, Op. 75 Play
Recorded on 01/23/2012, uploaded on 01/23/2012
Musician's or Publisher's Notes
Camille Saint-Saёns wrote his First Violin Sonata in 1885, after having composed three violin concerti and his famous Introduction and Rondo Capriccioso for violin and orchestra. The structure of the sonata is unorthodox: the four movements are paired so that the first two and last two movements are connected, dividing the sonata into two compound movements. The first movement, marked Allegro agitato, is full of tension, agitation, and restlessness. The lyrical second movement, Adagio, expresses nostalgia and Romantic yearning, contrasted by a lighter dancelike central episode. The balletic third movement, Allegretto moderato, dances lightly and gracefully in a breezy triple meter; it recalls the elfin spirit of the famous scherzo from Felix Mendelssohn’s incidental music to Shakespeare’s A Midsummer Night’s Dream (a piece that Saint-Saëns transcribed for piano). The finale, Allegro molto, erupts with a flurry of running sixteenth notes in the violin. The middle section reprises a reminiscence of the lyrical second theme from the first movement, giving the piece a sense of unifying cyclic form. In the coda, Saint-Saëns returns to the rush of the sixteenth notes, this time in simultaneous octaves by the two instruments, leading to a triumphant conclusion. Wen Lei Gu
More music by Camille Saint-Saëns
Allegretto Moderato, from Sonata No. 1 in d minor for Violin and Piano, Op. 75
Sonata No. 1 in d minor for Violin and Piano, Op. 75
The Swan for cello and piano
Cello Concerto no.2 op.119. 1.mv.Allegro moderato e maestoso,Andante sostenuto
Cello Concerto no.2.op.119. 2.mv.Allegro non troppo
Introduction and Rondo Capriccioso, Op. 28
Sonata No. 1 in d minor for Violin and Piano, Op. 75
Piano Concerto No. 2 in g minor, Op. 22
Carnival of the Animals The Swan
Havanaise, Op. 83
Performances by same musician(s)
Fugue in A Major
Dance of the Blessed Spirits, from Orfeo ed Euridice
Largo al Factotum from Rossini’s “The Barber of Seville"
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