Información General

• Autores: Michael Stegemann (ed. lit.)
• Editores: Brepols
• Año de publicación: 2018
• Colecciones: Speculum Musicae, 31
• País: Bélgica
• Idioma: varios idiomas
• ISBN: 978-2-503-58070-8
• Texto completo no disponible (Saber más ...)

Resumen

• French composer Camille Saint-Saëns (1835-1921) is certainly one of the most fascinating and important figures in the music history of the 19th and early 20th century. World-renowned for "The Carnival of the Animals", his oeuvre encompasses more than 600 compositions, many of them key works for the respective musical genre. The present volume brings together 21 articles: they investigate not only Saint-Saëns’ compositions – from operas and other stage works to his chamber and piano music and to his recordings – but also his writings and his many travels all over the world, which provided the basis for the many aspects of exoticism and orientalism of his music. The presentation of these essays can be seen as a seminal building block for further studies, also in view of the centenary of his death to be commemorated in 2021.

Otros catálogos

• Red de Bibliotecas Universitarias (REBIUN)

Listado de artículos

• • On Stage – Operas

    • Saint-Saëns the Dramatist

      Hugh MacDonald

      págs. 3-14

      

    • Camille Saint-Saëns and Staging History: Henry VIII and Ascanio at the Opéra

      Erin Brooks

      págs. 15-42

      

    • Saint-Saëns e l’esotismo ‘ellenico’ di Déjanire

      Mara Lacchè

      págs. 43-57

      

    • Camille Saint-Saëns et l’Opéra de Paris (1915-1945): un étendard de la musique française

      Claire Paolacci

      págs. 59-82

      

  • Down the Aisle – Church Music

    • Saint-Saëns’s Messe de Requiem: un nuevo modelo religioso en la tradición romántica del género

      Sara Ramos Contioso

      págs. 85-100

      

    • Saint-Saëns, Criticism, and Catholicism

      Megan Sarno

      págs. 101-120

      

  • In the Concert – Instrumental Music

    • «La chimère de la pureté du style et de la perfection de la forme»: Saint-Saëns und die großen Formender Instrumentalmusik

      Michael Stegemann

      págs. 123-139

      

    • Fossili e rovine: trattamenti metamorfici nel Quartetto per archi e pianoforte in Mi maggiore Op. Post.di Camille Saint-Saëns

      Elisabetta Righini

      págs. 141-155

      

    • Les Deux Trios avec piano de Camille Saint-Saëns (1864-1892): pour une filiation française?

      Julie Oustinoff

      págs. 157-173

      

    • Lisztian Approaches in the Instrumental Works of Camille Saint-Saëns: ‘Thematic Transformation’ and the Symphony No. 3 in C Minor, Op. 78 (‘Organ’)

      Rohan H. Stewart-MacDonald

      págs. 175-188

      

    • Camille Saint-Saëns’ Piano Technique: A Retrospectively Constituted Object?

      Rémy Campos

      págs. 189-212

      

    • Saint-Saëns, Proto-Impressionism, and ‘le jeu perlé ’

      Geoffrey Burleson

      págs. 213-225

      

    • Les Œuvres pour harpe de Camille Saint-Saëns et ses relations professionnelles avec les harpistesà la lumière de la correspondance

      Temina Cadi Sulumuna

      págs. 227-252

      

  • En Route – Travelling through the World

    • L’esotismo musicale di Saint-Saëns come diario di bordo tra vita e opera

      Alberto Massarotto

      págs. 255-267

      

    • Camille Saint-Saëns en Égypte: les sens du voyage (1890-1914)

      Stephane Leteuré

      págs. 269-290

      

    • Camille Saint-Saëns e l’Italia: analisi di un rapporto (attraverso i carteggi)

      Oreste Palmiero

      págs. 291-312

      

    • La primera visita de Saint-Saëns a España en 1880: el descubrimiento del pianista virtuoso

      José Ignacio Suárez García

      págs. 313-344

      

    • A Relationship Spanning more than 40 Years: The Case of Portugal

      David Cranmer

      págs. 345-360

      

    • Saint-Saëns et ses œuvres littéraires sur le Japon

      Mitsuya Nakanishi

      págs. 361-372

      

    • Saint-Saëns, presidente della Société des instruments anciens

      Antonio Ferrara

      págs. 373-382