| Saint-Saëns, Camille | | Septuor for Trumpet, Piano, two Violins, Viola, Violoncello and Double Bass in E-flat major op. 65 | BÄRENREITER URTEXT
Editor: Teller Ratner, Sabina | | BA 10966 | EUR 24.50 | Full score | 9790006578368 |
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| | Urtext edition based on the corresponding volume (BA10302-01) of the series "Camille Saint-Saëns Œuvres instrumentales complètes"
Set of individual parts for piano, trumpet in E-flat/B-flat, strings
Additional string parts to enable performances with two or more string players per part |
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BA 10966-22 | EUR 24.50 | Set of parts | 9790006579235
For a long time, Camille Saint-Saëns was reluctant to compose a chamber music piece with trumpet for his friend Émile Lemoine and his chamber music association "La Trompette": "I can happily write you a concerto for twenty-five guitars […] but for trumpet? Impossible." Finally, he gave in and wrote a Préambule in 1880 and a year later the four further movements of the "Septuor" for trumpet, two violins, viola, violoncello, double bass and piano. With its neo-baroque tonal language, the work enjoyed great popularity during Saint-Saëns’ lifetime, which surprised the composer time and again.
Alongside a full score with an Introduction (Eng/Fr/Ger) and a Critical Commentary (Eng), a set of all seven individual parts is available, including two parts for trumpet in low E-flat (original) and in B-flat.
Furthermore, additional string parts are individually available to accommodate performances with two or more string players per part (as customary in Saint-Saëns’ lifetime). | | | | |
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| Rameau, Jean-Philippe | La Naissance d'Osiris
Ballet allégorique in One Act | | Editors: Thompson, Shirley / Sadler, Graham | | BA 8863-90 | EUR 20.50 | Vocal Score (Fr) | 9790006558261 | Originally conceived as a prologue for the ballet "Les Beaux Jours de l'Amour", the one-act play "La Naissance d'Osiris" was only performed twice, together with revivals of "Pigmalion" and "Les Incas de Pérou" (the second act of the opera-ballet "Les Indes galantes") in 1754. The occasion was the birth of the Duc de Berry, later Louis XVI. There is no evidence that "La Naissance d'Osiris" was ever revived in the 18th century, probably because it was too closely linked to the occasion of the premiere. However, Rameau reused parts of the music in later works such as "Anacréon", "Les Paladins" and "Les Boréades".
For the content, the librettist Louis de Cahusac drew on the myth of the birth of the Egyptian god Osiris, who symbolizes the newborn prince. The approximately one-hour work for four vocal soloists, choir, orchestra and dancers is written predominantly in a pastoral style. | | |
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