Cello Concerto No. 1 (Saint-Saëns)

Camille Saint-Saëns composed his Cello Concerto No. 1 in A minor, Op. 33 in 1872, when the composer was 37 years old. He wrote this work for the Belgian cellist, viola de gamba player and instrument maker Auguste Tolbecque. Tolbecque was part of a distinguished family of musicians closely associated with the Société des Concerts du Conservatoire, France’s leading concert society. The concerto was first performed on January 19, 1873 at the Paris conservatoire concert with Tolbecque as soloist. This was considered a mark of Saint-Saëns' growing acceptance by the French musical establishment.

Sir Donald Francis Tovey later wrote "Here, for once, is a violoncello concerto in which the solo instrument displays every register without the slightest difficulty in penetrating the orchestra." Many composers, including Shostakovich and Rachmaninoff, considered this concerto to be the greatest of all cello concertos.

Structure and Overview

Saint-Saëns broke with convention in writing the concerto. Instead of using the normal three-movement concerto form, he structured the piece in one continuous movement. This single movement contains three distinct sections. Those sections, tightly-structured, share interrelated ideas. Saint-Saëns' contact with Franz Liszt while serving as organist at the Église de la Madeleine may have led him to use cyclic form in his orchestral works.^[1]

The work can be split into three different sections as follows:

1. Allegro non troppo

   The concerto begins unusually. Instead of the traditional orchestral introduction, the piece begins with one short chord from the orchestra. The cello follows, stating the main motif. Soon, countermelodies flow from both the orchestra and soloist, at times the two playfully "calling and answering" each other.

2. Allegretto con moto

   This turbulent opening movement leads into a brief but highly original minuet, in which the strings are muted, and which contains a cello cadenza.

3. Tempo primo

   A restatement of the opening material from the first movement opens the finale. While Saint-Saëns uses the finale mainly as a recapitulation of earlier material, he concludes it with the introduction of an entirely new idea for the cello.

Saint-Saëns very often uses the solo cello here as a declamatory instrument. This keeps the soloist in the dramatic and musical foreground, the orchestra offering a shimmering backdrop. The music is tremendously demanding for soloists, especially in the fast third section. This difficulty has not stopped the concerto from becoming a favourite of the great virtuoso cellists.

Media

This recording is by the Skidmore College Orchestra and is courtesy of Musopen.

	I. Allegro non Troppo II. Allegretto con Moto III. (Tempo Primo)
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References

External links

• Cello Concerto No.1 in a minor, Op.33: Scores at the International Music Score Library Project

Camille Saint-Saëns Operas Ascanio Déjanire Hélène Henry VIII La princesse jaune Le timbre d'argent Samson and Delilah Symphonies Symphony No. 3 in C minor ("Organ Symphony") Concertos Piano Piano Concerto No. 1 in D major Piano Concerto No. 2 in G minor Piano Concerto No. 3 in E♭ major Piano concerto No. 4 in C minor Piano Concerto No. 5 in F major ("L'Egyptien") Other Cello Concerto No. 1 in A minor Cello Concerto No. 2 in D minor Cello Suite Havanaise Introduction and Rondo Capriccioso Organ Concerto ("Cyprès et lauriers") Violin Concerto No. 2 in C major Violin Concerto No. 3 in B minor Orchestra works Danse macabre The Assassination of the Duke of Guise Vocal music Le Déluge Chamber music Oboe Sonata in D major Suite for Cello and Piano The Carnival of the Animals Related articles List of compositions by Camille Saint-Saëns Romanticism Portal:Classical music