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This is a relatively early work in Saint-Saëns’ output, but it already shows the considerable skills of its creator. As many classical music enthusiasts know, the composer was a child prodigy and thus evolved his mature style rather quickly. This piece has all the sophistication of the work of a seasoned master, at least in its instrumental writing. Its music may not divulge the originality or thematic distinctiveness of many of Saint-Saëns’ later works, but it has charm and a deft sense of humor. This Tarantella is catchy from its opening notes: zesty rhythms and menacing dance music combine to create an amusingly creepy atmosphere that augurs the mood and writing in such works as Dukas’ The Sorcerer’s Apprentice. The music is lively, not as fast, however, as that usually associated with tarantellas, which often have a frenzied character. Here, Saint-Saëns seems to want to underscore the myth about the origins of this Italian dance, which was thought to result from the bite of a tarantula spider or to serve as its cure. He makes the flute and clarinet slither and swirl and dance so menacingly, often in unison, and partners them with discreet and subtle orchestral writing. This is a fine piece now sometimes heard in an arrangement for flute, clarinet, and piano.
(AllMusic)
Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original audio: https://www.youtube.com/watch?v=mBJnZ-Up3CI
Original sheet music: imslp.org/wiki/Tarantelle,_Op.6_(Saint-Sa%C3%ABns,_Camille)
camille saint saëns tarantella op 6 주제에 대한 자세한 내용은 여기를 참조하세요.
Tarentelle, Op.6 (Saint-Saëns, Camille) – IMSLP
Tarentelle, Op.6 (Saint-Saëns, Camille) · Tarantellas · Dances · For flute, clarinet, orchestra · 11 more…
Source: imslp.org
Date Published: 5/21/2021
View: 6202
Tarentelle in A minor, Op 6 (Saint-Saëns) – Hyperion Records
Saint-Saëns composed his Tarentelle in A minor Op 6, for flute and clarinet accompanied by orchestra or piano, in 1857 for his colleagues flautist Louis Dorus …
Source: www.hyperion-records.co.uk
Date Published: 2/12/2021
View: 4213
Tarantelle Op. 6 for Flute, Clarinet and Orchestra
6 in A minor, Saint-Saens, in 1857, produced a great example that really does have all the whirling and dervishness you could possibly want. In …
Source: saintsaenscomplete.wordpress.com
Date Published: 11/28/2021
View: 2343
Tarantella, Op. 6 – song by Camille Saint-Saëns, Anne Freitag …
Listen to Tarantella, Op. 6 on Spotify. Camille Saint-Saëns · Song · 2018.
Source: open.spotify.com
Date Published: 1/29/2021
View: 3466
Saint-Saens (arr. Johnston) – Tarantella, Op. 6 for Flute …
Composed when Camille Saint-Saens was only 22 years old, this Tarantella is an exciting dance in 6/8 time. Originally orchestrated for solo instruments with …
Source: ummpstore.com
Date Published: 1/11/2022
View: 9517
Tarantelle, Op. 6: Flute & Clarinet (with Piano), Score & Parts …
Amazon.com: Tarantelle, Op. 6: Flute & Clarinet (with Piano), Score & Parts (Kalmus Edition): 9780769271231: Saint-Saëns, Camille: Books.
Source: www.amazon.com
Date Published: 4/6/2021
View: 8321
Camille Saint-Saëns, Tarantelle, Op. 6 for Flute, Clarinet and …
Saint-Saëns wrote the Tarantelle, also originally with orchestral accompaniment, in 1857 when he was just embarking on his long and successful career as a …
Source: sllmf.org
Date Published: 8/23/2022
View: 6019
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- Author: thenameisgsarci
- Views: 조회수 371,338회
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- Date Published: 2016. 4. 17.
- Video Url link: https://www.youtube.com/watch?v=GpxCREPeo4c
Tarentelle in A minor, Op 6 (Saint-Saëns)
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Tarantelle Op. 6 for Flute, Clarinet and Orchestra
UPDATE: Since writing this entry I have read a little bit more about this Tarantelle, as described by Saint-Saens himself in an essay on Rossini, as published in a collection of his essays translated by Roger Nichols. He tells a story of the generosity of Rossini in encouraging the young Saint-Saens. Rossini was surrounded by a coterie of hangers-on who would hang off his every word, but whom he didn’t take too seriously. He arranged a private performance of this work informing his cronies that it was a new work that he had composed. It met with a rapturous reception – people sang its praises and Rossini lapped it up, before casually breaking the bombshell that the piece was by Saint-Saens, whom most of the room had barely acknowledged. Saint-Saens said it was a measure of the generosity of the man (presumably the eventual owning up, not the initial subterfuge of passing off someone else’s work as your own – that kind of thing gets frowned on).
We all know the story of the tarantella – the dance that is the ‘cure’ for the bite of the tarantula… if you dance hard enough you’ll work out the poison.
It’s meant to be a furious jig, mixing wild whirling dervish moments with frantic stomping. Originating from southern Italy*, the tarantella is a popular musical dance form, not only in folk music, but also found in works by Mendelssohn, Schubert, Chopin, Tchaikovsky. But my beef is that none of these really sound greatly frantic and stampy. They don’t sound like you would sound if you sudden noticed incy-wincy crawling up your inner thigh, fangs poised, put it that way.
Well, fear not, with the Tarantelle Op. 6 in A minor, Saint-Saens, in 1857, produced a great example that really does have all the whirling and dervishness you could possibly want. In its 6 and half minutes or so, it poses fiendish technical demands on the soloists (the unusual combination, for a concertante piece, of flute and clarinet). There are frantic scales and arpeggios played presto. There are manic trills. There’s urgent screams (almost).
Given it’s such great fun, it’s a real pity that this is a piece is so enormously overlooked. At least there are a few recorded versions available (actually the 1857 original version that Saint-Saens wrote and premiered was with piano accompaniment, and there are slightly more recordings of that version, but Saint-Saens orchestrated the work in 1879). Here’s an example of the orchestral version (a tad too slow for my liking – the version I listened to was with Geoffery Simon conducting the London Symphony Orchestra and is much more manic).
Saint-Saens produced a range of excellent short concertante works – among the best known works in his output – Danse Macabre, the Havanaise, the Rondo Capriccioso, the Wedding Cake Caprice (nothing to with the super model). But this piece, his first concertante piece, has very little that is known about it, and why it was written. What does appear to be certain is that he wrote it for the first flute and first clarinet of the imperial academy, and it was they who premiered the work (it is thought originally at a private musical soiree organised by Rossini – also an occasional tarantella-dabbler). It had a number of performances before being dropped from Saint-Saens own personal performing repertoire (although since he did orchestrate it 22 years later, presumably he didn’t think it was a dead loss as a piece). It made a late appearance in Saint-Saens career at a Saint-Saens festival in Cuba, intriguingly, in 1907.
What I like about the piece is that it is slightly deranged, and almost obsessively mimimalistically repeats the same figure throughout the majority of the piece – a simple four bar figure that we hear at the outset of the work, pianissimo (so quiet in the recording I have that I can barely hear it even with headphones on and then end up blasting my ears off when the orchestra finally enters with a fortissimo thump). Here’s the figure
on and on it goes. The flute and clarinet enter and run around all over the place (remember this is played at ‘considerable chop’ – excuse the australian colloquialism).
The orchestra eventually comes in and the music becomes more hectic until we enter a temporarily more flowing A major middle section – but even here the pace never really relents. Although one of the solo parts may have a slightly more languorous tune, the other continues to go nuts with balls-to-the-wall arpeggios
Even this comparatively more sedate middle section soon gives way back to A minor, with a solo oboe perkily interjecting the original ostinato figure to cut off any thoughts of a reverie by the soloists. Soon, in the two main soloists are joined by solo oboe and solo bassoon in a recapitulation of the original material – a really effective bit of writing that reflects the chamber music origins of the piece. Finally the orchestra winds up over a pedal timpani roll to a prestissimo coda, in 2/4 that stamps its way to a furious bring-the-house-(and if you are dancing, probably your trousers)-down ending. That’ll teach that spider.
Tarantelle Op.6 for flute, clarinet and orchestra
Why you might want to listen to it: It’s hilarious. Frankly, I don’t know why this piece isn’t programmed more often, given it’s a real show-stopper. Perhaps because hiring solo flautist and solo clarinettists doesn’t occur much on the same bill.
Why you might want to avoid it: Arachnophobia is a possibility I suppose.
* Here’s something interesting. There are no tarantulas in Italy, at least not what we, scientifically, would now call a tarantula. So I wondered, how could this dance possibly be associated with a tarantula bite? Well, thanks to my good friend Algernon Wikipedia, I find that there is a wolf spider native to the region, which locals call the tarantulla. How does it get the name? Because it is specific to the Taranto region of southern Italy. So, the modern name tarantula actually is stolen from the local name for a wolf spider from the Taranto region. Confusing.
Saint-Saens (arr. Johnston) – Tarantella, Op. 6 for Flute, Clarinet (i
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Composed when Camille Saint-Saens was only 22 years old, this Tarantella is an exciting dance in 6/8 time. Originally orchestrated for solo instruments with orchestra, this piece is most commonly performed with the piano reduction. This arrangement provides a much more “orchestral” alternative to a lone piano.
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Camille Saint-Saëns, Tarantelle, Op. 6 for Flute, Clarinet and Piano
Camille Saint-Saëns (1835-1921)
Tarantelle, Op. 6 for Flute, Clarinet and Piano
Notes for: July 22, 2014
Over a composing career of 85 years, Saint-Saëns wrote vast quantities of attractive character pieces for many different instruments. His object was to discover and exploit the distinctive character of the instruments, finding new ways both to distinguish and to blend them. This evening we hear two examples – one written when he was 36 years old and in the full bloom of his career as a composer, concert pianist and church organist, and the other when he was 22 and still establishing his reputation in Paris.
Saint-Saëns wrote the Tarantelle, also originally with orchestral accompaniment, in 1857 when he was just embarking on his long and successful career as a composer, teacher, organist and pianist. The piece not only was instrumental in establishing his reputation, but also served through a humorous incident to win the influential support of Rossini, the leading opera composer of the day, then living in retirement in Paris.
According to Saint-Saëns’s memoirs, Rossini knew the flutist and clarinetist for which the piece was composed, and he suggested that they play it at one of the lavish dinner parties that he frequently gave for his army of admirers. Saint-Saëns continues:
As there was never any printed program at these celebrated evenings, Rossini contrived to give the impression that it was his own work. You can imagine what a tremendous success it had under such conditions. When the encore was finished, Rossini took me into the dining room and made me sit near him, holding me by the hand so that I couldn’t get away. Then came the procession of admirers and camp followers. “Ah! Maestro! What a masterpiece!” and so on. And when the victim had exhausted all the superlatives he could think of, Rossini would blandly reply: “I entirely agree with you. But I didn’t write it – this gentleman here is the composer.”
“Tarantelle” is French for “tarantella,” a fast, often breathless, Italian dance in 6/8 time. According to popular legend, the dance is related to the tarantula spider and originated as a frenzied reaction to, or as a primitive cure for, the spider’s bite. The truth is that (1) the name of the dance derives from Taranto, a city in Italy, and that (2) tarantula bites are painful but not particularly toxic or maddening.
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