Camille Saint-Saëns was a French composer, organist, and pianist active during the Romantic period. Celebrated for works like "The Carnival of the Animals" and "Symphony No. 3," he was renowned for his musical versatility and technical proficiency, contributing greatly to orchestral, operatic, and chamber music repertoires.
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These concerts with works by Camille Saint-Saëns became visible lately at ConcertPulse.
Be transported by the extraordinary sounds of the guitar with a free evening of unique arrangements of timeless classical works, performed by celebrated alumni from Guildhall School.
Concerts in season 2024/25 or later where works by Camille Saint-Saëns is performed
Be transported by the extraordinary sounds of the guitar with a free evening of unique arrangements of timeless classical works, performed by celebrated alumni from Guildhall School.
Music is shaped not only by diverse tones and melodies but also by incredibly versatile rhythms and tempos. From spirited to melancholic, slow to fast, we explore the rhythmic variety in music. Clap, sneak, and dance along in the children's concert Takt auf, Takt ab!
Music is shaped not only by diverse tones and melodies but also by incredibly versatile rhythms and tempos. From spirited to melancholic, slow to fast, we explore the rhythmic variety in music. Clap, sneak, and dance along in the children's concert Takt auf, Takt ab!
For lovers of chamber music the Recital Hall is the venue of choice. You can hear the musicians breathe and you can practically touch them. This hall is also cherished by musicians for its beautiful acoustics and direct contact with the audience. In the Recital Hall you can hear the best musicians of our time. Buy your tickets now and experience the magic of the Recital Hall for yourself!
This recital opens with Bach's trio sonatas for violin and harpsichord, highlighting the harpsichord's novel equality. Schubert's C-Major Fantasy for violin and piano, written for Josef Slavík, challenged audiences with its length and free form. Sibelius's Nocturne from "Belshazzar's Feast" follows Leschanah's palace dialogue with the stars. Saint-Saëns's first violin sonata, announced with humor, became a hit. Kroll's "Banjo and Fiddle" captures American folk music and gained popularity through Jascha Heifetz.
»Auf nach Paris!« (Off to Paris!) is the motto of the Klassische Philharmonie Bonn’s concert in February. This time, the orchestra looks to neighbouring France and has designed the programme with this in mind: it starts with Haydn’s Symphony No. 83 with the beautiful nickname »La Poule« (The Chicken). The work was composed in 1785 for the concert series »Le Concert de la Loge Olympique« and confirmed Haydn’s fame in France.
Double concertos for two solo instruments take the usual »concertante two-dimensionality« to »3D«, so to speak: in addition to the juxtaposition of solo and orchestra, there is also the relationship between the two solo parts to consider. And one is often inclined to imagine the latter as a role play: Are we witnessing a liaison or an argument between the two protagonists? True to its motto for the season, the Hamburg Camerata presents two such »3D concertante« works in this programme: in his piece for violin, cello and orchestra, the French Romantic composer Camille Saint-Saëns actually had the image of a muse in mind who ensnares a poet and frees him from his melancholy. It is not known whether the British contemporary Ethel Smyth had something similar in mind for her unusual double concerto for violin and horn. But the pioneer of the English women’s movement was certainly controversial. In contrast, Francis Poulenc saw his »Sinfonietta« from 1947 as more of a pleasure than a serious contribution to the time-honoured symphonic genre, in which the united »concertante camerata« breaks out into countless stylistic dimensions at the end.
Happy 85th birthday on 20 February 2025! We wish this to our Honorary Conductor, for whom one thing is for sure: »Music gives you youth, freshness and lots of new beginnings.« Christoph Eschenbach always leaves an impression with his unmistakable aura: he is not a podium matador by any means, but rather comes across at times like a Buddhist monk with his convincing gestures and penetrating eyes full of warm-heartedness. A conductor who prefers silence rather than many words – and one who sees himself as a »musician among musicians«. This results in captivating interpretations with a great sense of mutual understanding, including such works close to his heart as in this year’s programme: Christoph Eschenbach once said that Bruckner was one of his »greatest treasures«. He discovered his love for Bruckner’s music while listening to a radio programme as a boy. And it still fascinates him to this day, so he explores the fascination of Bruckner’s first work with us – this »cheeky little fellow«. It is truly a great blessing that we have been able to come together with such a charismatic artistic personality for such a long time. It is like a longstanding and very close love affair that is constantly being revitalised – also with Saint-Saëns’ »Organ Symphony«: this powerful piece was recorded with Christoph Eschenbach and our orchestra at the Bamberg Cathedral back in 1987 for an audio release. We have every reason to be excited about how the work will sound together with our house organist Christian Schmitt on the concert organ our audience loves so much – after all, our Honorary Conductor remains curious in his old age: »I want to still be conducting when I’m 100, because I might be able to discover even more at the age of 99 than I can at the moment.«
Camille Saint-Saëns considered his Symphony No. 3, also known as the "Organ Symphony", his most significant work. While the organ doesn't solely feature as a virtuoso instrument, it complements the orchestra, adding a unique sonic dimension. Similarly, Poulenc's colourful concerto blends sacred and lively fairground sounds. Hindemith's "Symphonic Metamorphoses" also combine contrasting elements, with his lighthearted approach to Carl Maria von Weber's romanticism meeting modern American musical influences.
Happy 85th birthday on 20 February 2025! We wish this to our Honorary Conductor, for whom one thing is for sure: »Music gives you youth, freshness and lots of new beginnings.« Christoph Eschenbach always leaves an impression with his unmistakable aura: he is not a podium matador by any means, but rather comes across at times like a Buddhist monk with his convincing gestures and penetrating eyes full of warm-heartedness. A conductor who prefers silence rather than many words – and one who sees himself as a »musician among musicians«. This results in captivating interpretations with a great sense of mutual understanding, including such works close to his heart as in this year’s programme: Christoph Eschenbach once said that Bruckner was one of his »greatest treasures«. He discovered his love for Bruckner’s music while listening to a radio programme as a boy. And it still fascinates him to this day, so he explores the fascination of Bruckner’s first work with us – this »cheeky little fellow«. It is truly a great blessing that we have been able to come together with such a charismatic artistic personality for such a long time. It is like a longstanding and very close love affair that is constantly being revitalised – also with Saint-Saëns’ »Organ Symphony«: this powerful piece was recorded with Christoph Eschenbach and our orchestra at the Bamberg Cathedral back in 1987 for an audio release. We have every reason to be excited about how the work will sound together with our house organist Christian Schmitt on the concert organ our audience loves so much – after all, our Honorary Conductor remains curious in his old age: »I want to still be conducting when I’m 100, because I might be able to discover even more at the age of 99 than I can at the moment.«
Camille Saint-Saëns considered his Symphony No. 3, also known as the "Organ Symphony", his most significant work. While the organ doesn't solely feature as a virtuoso instrument, it complements the orchestra, adding a unique sonic dimension. Similarly, Poulenc's colourful concerto blends sacred and lively fairground sounds. Hindemith's "Symphonic Metamorphoses" also combine contrasting elements, with his lighthearted approach to Carl Maria von Weber's romanticism meeting modern American musical influences.
The king of the animals, a lion, has taken a little nap after lunch and suspects no harm. But when he wakes up, he is struck by sheer horror. His precious crown has disappeared! Just one day before the grand animal carnival, the most important day of the year when the great ruler wants to be seen by his animal subjects. One thing is certain: the crown must be returned! Juri Tetzlaff has been one of the best-known and most popular faces on children’s television channel KiKA since 1997. He has also been a passionate presenter of concerts for children since 2001. Now he has revitalised a true classic of the genre with a version of his own lyrics. Tetzlaff transforms Camille Saint-Saëns’ »Carnival of Animals« into an exciting detective story, which he himself narrates in his usual exciting style. Enjoy an entertaining hands-on concert with a tricky murder mystery and breathtakingly beautiful music!Costumes are highly welcomed!
The spiritual focus of this program is not the prominent names of Camille Saint-Saëns or Max Reger, whose works form the weighty framework of this organ lesson, but the coordinated miniatures by Nadia Boulanger and Philipp Maintz. At the request of Angela Metzger, the latter has composed a cycle of short organ pieces especially for use in the concert hall, the structure and charm of which unfold in particular in combination with the Trois Pièces by Nadia Boulanger. One of these three pieces will even be premiered in today's concert.
Between Trees was the international breakthrough for the composer Kristine Tjøgersen (b. 1982) from Oslo. The Norwegian Radio Orchestra premiered the orchestral piece and was selected as “most outstanding work” at the prestigious award ceremony International Rostrum of Composers. Among the trees in the forest, “it teems with roots connected in a network of fungal threads,” the composer says. “These threads connect trees and plants so that they can communicate - like the forest’s own internet.” The piece is rich in unusual instrument sounds and techniques. She continues: “Fungal threads grow in pulses, so there is a rhythmically pulsating life unfolding beneath our feet. The opening is therefore buoyant and airy, like communicating trees. We then move over the ground, and hear flapping wings and various birds.”When the Russian Revolution was a fact in 1917, Sergei Prokofiev (1891-1953) left the eye of the storm, Petrograd (today’s St. Petersburg), and traveled to the far east, with a steam boat on the rivers Volga and kama towards the Ural Mountains. In these calm surroundings, he wrote his most famous work. There is little in the Violin Concerto No. 1 in D Major that bears witness to the troubled times - perhaps excluding the wild second movement. The first and third movement contains some of Prokofiev’s most dreamy, romantic music, and some of his most memorable melodies.“I gave everything to it I was able to give. What I have accomplished here, I will never achieve again,” Camille Saint-Saëns (1835-1921) said about his Symphony No. 3 in C minor, the “Organ Symphony”, which premiered in London in 1886. This would be his last symphony and one of his most famous pieces.After growing up as a child prodigy on the piano, Saint-Saëns got the most prestigious organist job in France, at the La Madeleine church in Paris. The composer Franz Liszt heard him play there and called him “the world’s best organist”. Symphony No. 3 culminates in a powerful ending with piano and organ.
Mignon, Ophelia, and Mary, Queen of Scots—these three towering figures of literature and history provide the inspiration for an evening of words and music created by Christiane Karg, Malcolm Martineau, and actor Helmut Mooshammer. In addition to Goethe settings by Beethoven, Schubert, Wolf, Duparc, and Josephine Lange and Ophelia songs by Brahms, Strauss, Chausson, and Wolfgang Rihm, the program also includes Robert Schumann’s Gedichte der Königin Maria Stuart, the composer’s final vocal cycle written in 1852.
Made up entirely of doctors from all over the world who have achieved musical excellence, the World Doctors Orchestra presents a rich French programme, from Tomasi’s brilliant Concerto to two pillars in the repertoire, by Debussy and Saint-Saëns.
A chamber music concert for adults with babies aged 0–12 months. This half hour of music is adapted to suit adult tastes and babies’ hearing. Gentle and soft, with plenty of space in the auditorium. The audience sits on the floor in front of the stage, or on benches further back in the auditorium – the choice is yours.Two of the country’s most acclaimed top musicians are the guests at Classic with Baby this time: clarinet virtuoso Emil Jonason – a musician who makes the impossible possible on his instrument – and performing alongside him is one of Sweden’s absolute finest pianists, Peter Friis Johansson. As a duo, Emil and Peter have been touring together for nearly 15 years, performing concerts all across Sweden as well as on major stages throughout Europe.Concert pianist Natalie Gourman Syberg is host, and also initiated Classical with Babies. ***The possibility of bringing a pram into Konserthuset is very limited, so please consider leaving the pram at home.
A chamber music concert for adults with babies aged 0–12 months. This half hour of music is adapted to suit adult tastes and babies’ hearing. Gentle and soft, with plenty of space in the auditorium. The audience sits on the floor in front of the stage, or on benches further back in the auditorium – the choice is yours.Two of the country’s most acclaimed top musicians are the guests at Classic with Baby this time: clarinet virtuoso Emil Jonason – a musician who makes the impossible possible on his instrument – and performing alongside him is one of Sweden’s absolute finest pianists, Peter Friis Johansson. As a duo, Emil and Peter have been touring together for nearly 15 years, performing concerts all across Sweden as well as on major stages throughout Europe.Concert pianist Natalie Gourman Syberg is host, and also initiated Classical with Babies. ***The possibility of bringing a pram into Konserthuset is very limited, so please consider leaving the pram at home.
A chamber music concert for adults with babies aged 0–12 months. This half hour of music is adapted to suit adult tastes and babies’ hearing. Gentle and soft, with plenty of space in the auditorium. The audience sits on the floor in front of the stage, or on benches further back in the auditorium – the choice is yours.Concert pianist Natalie Gourman Syberg is host, and also initiated Classical with Babies. ***The possibility of bringing a pram into Konserthuset is very limited, so please consider leaving the pram at home.
A chamber music concert for adults with babies aged 0–12 months. This half hour of music is adapted to suit adult tastes and babies’ hearing. Gentle and soft, with plenty of space in the auditorium. The audience sits on the floor in front of the stage, or on benches further back in the auditorium – the choice is yours.Concert pianist Natalie Gourman Syberg is host, and also initiated Classical with Babies. ***The possibility of bringing a pram into Konserthuset is very limited, so please consider leaving the pram at home.
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