Saint Saens Op.32 Cello Sonata No.1 in C minor 聖桑 大提琴 奏鳴曲 第一號 サン＝サーンス チェロソナタ第1番 Score Sheet 譜 【Kero】
Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き 【Kero】
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Saint Saens Op.32 Cello Sonata No.1 in C minor
聖桑 作品32 大提琴 奏鳴曲 第一號 C小調
圣桑 作品32 大提琴 奏鸣曲 第一号 C小调
Saint Saëns Sonate n.º 1 para violoncello y piano, op. 32
サン＝サーンス チェロソナタ第1番 ハ短調
Classical music Música clásica クラッシック 古典音樂 古典音乐
Saint-Saëns Saint-Saens
#kero #聖桑 #Cello
00:00 I Allegro
08:57 II Andante tranquillo sostenudo
11:41 III Allegro moderato
The turbulent Cello Sonata No. 1, which makes full use of the lower registers of both cello and piano, reflects the composer’s sadness at the loss of a great-aunt and at the state of France following Napoleon III’s crushing defeat by Prussia at Sedan in 1870.
In 1872, Saint-Saëns composed two major works for the cello: the _Sonata op. 32_ and the _Concerto op. 33_. Although he dedicated the chamber work to the cellist Jules-Bernard Lasserre, with whom he often performed, it was with Auguste Tolbecque (who was to give the first performance of the _Concerto_) that he premiered the piece on 7 December 1872, at the Société Nationale. In 1876, he performed the sonata again with its dedicatee at a concert in London. This tense, powerful work seems to recall the Franco-Prussian war of 1870. With its prevailing dark colours and vehement mood, the opening _Allegro_ makes extensive use of the lower registers of both instruments. The second theme (a chordal melody in the upper register of the piano, while the cello seesaws between two notes) provides short-lived respite. The second movement introduces greater tranquillity. It is based on a chorale, about which Saint-Saëns originally said: “The _Andante_ of my first sonata for piano and cello is the result of an improvisation on the organ at the church of Saint-Augustin; the first and last sections of the piece are a textual reproduction of what I improvised.” The central part is more Romantically expansive in nature, before developing the chorale’s head-motif which, in the last section of the movement, is swathed in graceful arabesques. The tempestuous finale reintroduces the mood from the beginning of the work, while a glimmer of hope is introduced by its second theme, a broad _cantabile_ phrase. However, the uninterrupted onslaught of the piano drives the sonata into a headlong dash towards despair.