Morceau de Concert, Op. 62 Cover Image

Morceau de Concert, Op. 62: Full Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

$55.00 USD
$55.00 USD
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Morceau de Concert, Op. 62 Cover Image
Morceau de Concert, Op. 62: Full Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

Morceau de Concert, Op. 62: Full Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

By Camille Saint-Saëns

Item: 36-A568502
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Description
Written shortly after the completion of his Violin Concerto No. 3 in 1880, MORCEAU DE CONCERT, Op. 62 is thought to have been planned by Camille Saint-Saëns (1835-1921) as the first movement of a fourth concerto. Although such a work was never completed, Belgian violinist Ovide Musin tackled this standalone, technically challenging piece. The composer subsequently dedicated it to him. Instrumentation: 2.2.2.2: 2.2.0.0: Timp: Str (9.8.7.6.5 in set): Solo Vn in set. Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 612735832445
SKU: 36-A568502
Instrumentation: 2.2.2.2: 2.2.0.0: Timp: Str (9.8.7.6.5 in set): Solo Vn in set

More about this title

About the Composer: Camille Saint-Saëns

Camille Saint-Saëns (1835-1921) was a French composer of exceptional versatility whose output spanned symphonies, concertos, operas, and chamber music. A virtuoso pianist and organist in his own right, Saint-Saëns possessed a deep understanding of orchestral color and instrumental capability, which shaped his approach to writing for soloists and ensemble alike. His technical command and structural clarity made him one of the most performed composers of his era.

Saint-Saëns' concertos remain central to the standard repertoire, particularly his violin works. His ability to craft passages that challenge the soloist while remaining musically coherent reveals a composer who respected both the performer's skill and the listener's ear. This balance between virtuosity and substance defines much of his output.

Why we love this

Saint-Saëns crafts a piece that demands ensemble precision and soloist brilliance in equal measure. The orchestral writing supports the solo violin rather than overwhelming it, allowing rehearsals to develop clarity and control across the full instrumentation. Conductors appreciate repertoire where virtuosic display and orchestral sophistication coexist without compromise.

What to expect

This work radiates virtuosity tempered by formal clarity. The solo violin dances through passages of considerable technical difficulty while the orchestra provides architectural support through rich harmonies and rhythmic stability. The overall effect is one of elegance and display, confident rather than bombastic.

Who it's for

Orchestras seeking a substantial vehicle for an advanced solo violinist, this piece rewards ensembles with secure string sections and capable winds. Conductors looking for works that showcase both soloistic and orchestral skill will find a piece that challenges the entire ensemble to perform at a high level.

How to get the most out of it

  • Establish a clear pulse in the accompaniment figures; the solo violin's freedom depends on rhythmic stability underneath it.
  • Balance the woodwind and horn voices carefully in passages where they carry harmonic material; they should support rather than compete with the strings.
  • Work the solo violinist's entrance points separately with the orchestra so both soloist and ensemble understand where independence begins and where coordination matters most.
  • Pay attention to the timpani cues; they anchor structural moments and help the soloist maintain orientation in technically demanding passages.

How to use it

Program this as a showcase performance in a concert built around 19th-century violin concertos or French orchestral repertoire. It works well as the centerpiece of a concert that pairs it with a Saint-Saëns symphony or with other Romantic-era violin concertante works.

Skills your students will build

  • Balancing solo projection with ensemble support
  • Maintaining ensemble rhythmic unity while accommodating solo rubato
  • Executing complex harmonic progressions in woodwind and horn writing
  • Coordinating multiple entrances and musical phrases across orchestral sections

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