Camille Saint-Saëns - Violin Concerto No. 2, Op. 58 (1858)

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).
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Violin Concerto No. 2 in C major, Op. 58 (1858)
Dedication: Louis-Félix-Achille Dien (1827-1904)
1. Allegro moderato e maestoso - a tempo più allegro (0:00)
2. Andante espressivo - (13:23)
3. Allegro scherzando quasi allegretto (21:42)
Ulf Hoelscher, violin and the New Philharmonia Orchestra conducted by Pierre Dervaux
Description by Andrew Lindemann Malone [-]
Nothing in Camille Saint-Saëns' correspondence or notes indicated why he composed his first violin concerto in 1858. The composer thought little enough of it to let it languish unpublished until 1879, although it was well received when Pierre Marsick took the solo role at its 1880 premiere. By this time Saint-Saëns' second violin concerto had been published, as No. 1, Op. 20, so this one became No. 2, Op. 58. Saint-Saëns may have regarded this concerto as an immature work, and it does hew closely to the style of Henri Vieuxtemps' École liègoise, especially when compared with the formal advances Saint-Saëns made just a year later in his second concerto. Nevertheless, Op. 58 is a witty, playful, and highly polished work. The solo violin, entering over a minimally intrusive accompaniment figure, introduces the first theme with spirited embellishment, establishing itself as a true virtuoso soloist before the orchestra is even allowed to play an unadorned version of the theme. A passing phrase in the violin's transition material from the first theme eventually provides the basis for the second theme; Saint-Saëns continues reusing and tweaking material throughout the fluent, if not especially adventuresome, development. An extensive cadenza ends dramatically as the orchestra re-enters gradually, beginning with the timpani, as the violin's music settles down. Three trombones, added for the A minor Andante, make the bare six-note motif that opens the movement sound even more bare, and the harp that accompanies the violin melody based on that motif contributes to a somewhat medieval atmosphere. A tempestuous middle section in the major yields to a free repeat of the first section in which the winds assume more prominence, both in solos and accompaniment, as the violin slithers in and out of the orchestra's chords. Saint-Saëns then takes a page from the man he thought was the true master of the concerto, Beethoven, with an extended, adventurous coda featuring a surprising modulation to A major. The rondo finale, following attacca, is based on what is admittedly a rather stale theme, but Saint-Saëns enlivens it with witty, detailed orchestration and continued virtuoso hijinks on the violin.

[@davemiller7633]

Pretty neat manuscript writing

[@baltoman24]

Thank you for posting this beautiful performance of another masterful work by Saint-Saens! This concerto was actually the first of the three to be written, though it was published after the one known as the first, and before Saint-Saens consulted Sarasate on writing for the violin.

[@csababekesi-marton2393]

Beautiful. I admire the triumphant main theme of the 1st movement, and the gentle, mildly chromatic parallel theme of the 2nd. Thank you!

[@williamdeng1870]

Great musical piece!

[@ZootBurger]

Pure joy! ✨🥰✨

[@accipiterignitus5123]

Thanks for your additional editing!

[@elmiramuradova561]

Nice ! Thank you.

[@d.o.7784]

The 2nd mov is interesting

[@dansteadman2528]

For real!! I just listened to it for the first time and I was surprised

[@notaire2]

Wunderschöne Interpretation dieses romantischen und perfekt balancierten Konzerts mit seidigem doch gut phrasiertem Ton der genialen Solovioline sowie gut vereinigten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch inspirierend. Der intelligente und ebenso geniale Dirigent leitet das ausgezeichnete Orchester im gut analysierten Tempo und mit perfekt kontrollierter Dynamik. Faszinierend!

[@DavidRice111]

This is not only one of my favorite violin concertos, but this performance is par excellence! My all time favorite violin concerto + performance, is Mendelssohn's work performed by the incomparable Hilary Hahn: kzbin.info/www/bejne/iXXafH1sl6eLe6M: perfection!