Fantaisie No. 2, Op. 101 Cover Image

Fantaisie No. 2, Op. 101: Organ, Solo, Unaccompanied, Solo

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Fantaisie No. 2, Op. 101 Cover Image
Fantaisie No. 2, Op. 101: Organ, Solo, Unaccompanied, Solo

Fantaisie No. 2, Op. 101: Organ, Solo, Unaccompanied, Solo

By Camille Saint-Saëns

Item: 36-W723091
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Description
Camille Saint-Saëns (1835-1921), while most well-known for his chamber and orchestral works, also composed much for the organ, having himself been appointed organist at both Saint Merri (1853-1857) and Madeleine (1857-1877), the latter post he held for 20 years. He is one of the 19th century's most important composers and performers for the organ, counted together with other greats such as Gigout, Guilmant, and Widor. Saint-Saëns wrote this FANTAISIE No. 2, Op. 101 in D-flat Major for organ in 1895. Reprint edition.

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Additional Details
Series: Well Tempered Press - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-270577-6
ISBN13: 979-8-89-270577-6
UPC: 676737997298
SKU: 36-W723091
Instrumentation: Organ Solo

More about this title

About the Composer: Camille Saint-Saëns

Camille Saint-Saëns (1835-1921) was a French composer, organist, and pianist whose mastery spanned symphonies, concertos, chamber works, and sacred music. His organ compositions earned him recognition alongside the greatest cathedral organists of the 19th century, particularly during his two decades as organist at the Madeleine in Paris, where he premiered and performed works by himself and his contemporaries.

Saint-Saëns approached the organ with the same structural rigor and melodic sophistication he brought to orchestral writing. His organ works combine the Baroque contrapuntal tradition with Romantic harmonic language, making them essential repertoire for organists seeking depth beyond virtuosity.

Why we love this

This fantaisie showcases Saint-Saëns' gift for blending lyrical material with brilliant passage work in a form that rewards thoughtful phrasing. At Op. 101, written late in his career, it reflects a composer fully command of the instrument's architecture and expressive range. Organists gain access to substantial repertoire that sits comfortably between the standard Romantic warhorse and lesser-known treasures.

What to expect

Cantabile passages unfold over a foundation of harmonic sophistication, giving way to brilliant figuration that demands precision without sacrificing lyricism. The work breathes as a true fantasy, moving between contemplative and virtuosic sections with the fluidity of improvisation grounded in classical form.

Who it's for

Intermediate to advanced organists who have solid command of manual technique and pedalwork and are ready to tackle substantial Romantic-era repertoire. This fantaisie suits cathedral organists, church musicians performing concert recitals, and serious students preparing for competitions or advanced study.

How to get the most out of it

  • Map the harmonic progression through D-flat Major and its related keys before focusing on technical execution; Saint-Saëns' harmonic language guides the larger shape of the work.
  • Balance registration changes to emphasize structural arrivals rather than simply swapping manuals at written indications; allow the organ's acoustic to breathe between sections.
  • Attend to pedal clarity in running passages; Saint-Saëns often uses the pedal as a rhythmic anchor, and muddiness will blur the contrapuntal texture.
  • Approach rubato with restraint, letting harmonic rhythm and phrase length dictate tempo flexibility rather than applying it uniformly throughout.

How to use it

Program this as the centerpiece of an organ recital featuring 19th-century French masters, paired with works by Widor, Guilmant, or Franck for programming continuity. It also serves as a substantial solo offering for concert liturgies where a full organ work is warranted, either as a prelude or postlude.

Skills your students will build

  • Pedal independence in running sixteenth-note passages
  • Manual coordination across two or three keyboards with rapid registration changes
  • Phrasing and voicing control in lyrical passages with moving inner voices
  • Harmonic analysis in extended tonal areas within the D-flat Major tonal center
  • Sustaining rubato and musical flow across multi-section fantasy forms

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