Charles Camille Saint-Saens: Cello Concerto No. 1 in A Minor, Op. 22

Charles Camille Saint-Saëns: BORN: PARIS, OCT. 9, I835. DIED: ALGIERS, DEC. 16, I92I

Cello Concerto No. 1 in A Minor, Op. 22 - I. Allegro non troppo. II. Allegretto con moto. III. Comme prima, un peu moins vite. [Played without pause]

Charles Camille Saint-Saëns

Here's a sampling of the work performed by legendary cellist and tragic musical figure Jacqueline du Pré.

Jacqueline du Pré performing "The Swan" from Carnival of the Animals
by Saint-Saëns at the age of 17 in 1962

Without consideration of his many admirable compositions, one should bear this in mind: in the face of difficulties, discouragement, misunderstanding and sneers, he worked steadily from his youth up, and always to the best of his ability, for righteousness in absolute music; he endeavored to introduce into French music thoughtfulness and sincerity for the advantage and the glory of the country that he dearly loved.

            This, the first of two cello concertos by Saint-Saëns, was composed in 1872. It was first played at a Paris Conservatory concert on Jan. 19, 1873, with August Tolbecque, first cellist of the orchestra, doing the solo honors. The Concerto is dedicated to Tolbecque.

            The orchestration calls for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings. The work does not follow the orthodox form such as is found in the concertos of Mozart, Beethoven, Schumann, Brahms, and the others. Rather is it in one continuous movement with a principal theme running through each of what are in effect three sections.

            The Concerto begins (Allegro non troppo, A minor, 2/2) with the announcement of the main theme by the solo instrument against a quivering figure in the violins and violas. The cello develops the theme, and later it is taken over by the orchestra. Following that a new subject appears through the solo cello. This is in F major, and it is given the benefit of a brief development, after which the former theme is reintroduced and developed at length by the solo instrument and the orchestra. At the conclusion of this a new theme comes through in a sort of episode (Allegro molto, F major). Soon the music glides into what might be termed a new section (Allegretto con moto, B flat major, 3/4), which is a minuet. The muted strings utter the theme and the cello ushers in still another dance theme. There is a development of this material, with the minuet going to the orchestra, the slow waltz to the solo cello. Presently the strings return to the original subject. Then the cello enters a new phase, playing runs of sixteenth notes against a forte sequence by the orchestra. There is a melody in F major, offered by the cello, while the second violins and violas supply a syncopated background. A good deal of solo passage work occurs. The first theme reappears, the tempo accelerates, and the Concerto closes in a brilliant climax.