Camille Saint-Saëns and Portugal

a relationship spanning more than 40 years

Research output: Contribution to conferenceAbstract

2 Downloads (Pure)

Abstract

The length of Saint-Saëns’ life (1835-1920), the enormous range of places he visited and people he knew, as well as the number and variety of his compositions, make it easy, in global accounts of his life and works, for details to be omitted or garbled and for connections not to be made. Portugal, on the periphery of Europe, illustrates how, when you take a particular country and study his visits, details emerge about the visits in themselves, the works he composed, played or directed, and people he came to know, correcting and adding to our perception of the musician and the man. He made three professional visits to Portugal – in 1880, 1906 and 1914 – as well as passing through Lisbon on his return from Argentina and Uruguay in 1916. In 1880 he took part in four concerts at the Teatro de São Carlos, Lisbon, composing and directing the orchestral version of the barcarolle “Une nuit à Lisbonne”. In 1906 he performed at the Teatro de São João in Oporto, as well as in Lisbon, once more at the São Carlos. In Lisbon again in 1914, four years after the Republican Revolution, he conducted performances of Samson et Dalila and of Proserpine at the Coliseu. He knew three generations of Portuguese Royalty and was particularly attached to Queen Amélia, maintaining contact with her and King Manuel II, even after the Republican Revolution. The 3rd Organ Fantasy was commissioned by King Manuel, in exile.
Original languageEnglish
Pages16-17
Number of pages2
Publication statusPublished - 2016
EventVI Encontro Nacional de Investigação em Música - Universidade de Aveiro, Aveiro, Portugal
Duration: 3 Nov 20165 Nov 2016
http://www.spimusica.pt/enim-2016/

Conference

ConferenceVI Encontro Nacional de Investigação em Música
CountryPortugal
CityAveiro
Period3/11/165/11/16
Internet address

Fingerprint

Lisbon
Portugal
Revolution
Republican
Argentina
Fantasy
Barcarolle
Exile
Concert
Composing
Uruguay
Organs
Musicians
Length
Royalty

Cite this

Cranmer, D. J. (2016). Camille Saint-Saëns and Portugal: a relationship spanning more than 40 years. 16-17. Abstract from VI Encontro Nacional de Investigação em Música, Aveiro, Portugal.
Cranmer, David John. / Camille Saint-Saëns and Portugal : a relationship spanning more than 40 years. Abstract from VI Encontro Nacional de Investigação em Música, Aveiro, Portugal.2 p.
@conference{bcdbd94b4b7d4ca780da01093f7a63e3,
title = "Camille Saint-Sa{\"e}ns and Portugal: a relationship spanning more than 40 years",
abstract = "The length of Saint-Sa{\"e}ns’ life (1835-1920), the enormous range of places he visited and people he knew, as well as the number and variety of his compositions, make it easy, in global accounts of his life and works, for details to be omitted or garbled and for connections not to be made. Portugal, on the periphery of Europe, illustrates how, when you take a particular country and study his visits, details emerge about the visits in themselves, the works he composed, played or directed, and people he came to know, correcting and adding to our perception of the musician and the man. He made three professional visits to Portugal – in 1880, 1906 and 1914 – as well as passing through Lisbon on his return from Argentina and Uruguay in 1916. In 1880 he took part in four concerts at the Teatro de S{\~a}o Carlos, Lisbon, composing and directing the orchestral version of the barcarolle “Une nuit {\`a} Lisbonne”. In 1906 he performed at the Teatro de S{\~a}o Jo{\~a}o in Oporto, as well as in Lisbon, once more at the S{\~a}o Carlos. In Lisbon again in 1914, four years after the Republican Revolution, he conducted performances of Samson et Dalila and of Proserpine at the Coliseu. He knew three generations of Portuguese Royalty and was particularly attached to Queen Am{\'e}lia, maintaining contact with her and King Manuel II, even after the Republican Revolution. The 3rd Organ Fantasy was commissioned by King Manuel, in exile.",
author = "Cranmer, {David John}",
note = "info:eu-repo/grantAgreement/FCT/5876/136075/PT# PEst-OE/EAT/UI0693/2014; VI Encontro Nacional de Investiga{\cc}{\~a}o em M{\'u}sica ; Conference date: 03-11-2016 Through 05-11-2016",
year = "2016",
language = "English",
pages = "16--17",
url = "http://www.spimusica.pt/enim-2016/",

}

Cranmer, DJ 2016, 'Camille Saint-Saëns and Portugal: a relationship spanning more than 40 years' VI Encontro Nacional de Investigação em Música, Aveiro, Portugal, 3/11/16 - 5/11/16, pp. 16-17.

Camille Saint-Saëns and Portugal : a relationship spanning more than 40 years. / Cranmer, David John.

2016. 16-17 Abstract from VI Encontro Nacional de Investigação em Música, Aveiro, Portugal.

Research output: Contribution to conferenceAbstract

TY - CONF

T1 - Camille Saint-Saëns and Portugal

T2 - a relationship spanning more than 40 years

AU - Cranmer, David John

N1 - info:eu-repo/grantAgreement/FCT/5876/136075/PT# PEst-OE/EAT/UI0693/2014

PY - 2016

Y1 - 2016

N2 - The length of Saint-Saëns’ life (1835-1920), the enormous range of places he visited and people he knew, as well as the number and variety of his compositions, make it easy, in global accounts of his life and works, for details to be omitted or garbled and for connections not to be made. Portugal, on the periphery of Europe, illustrates how, when you take a particular country and study his visits, details emerge about the visits in themselves, the works he composed, played or directed, and people he came to know, correcting and adding to our perception of the musician and the man. He made three professional visits to Portugal – in 1880, 1906 and 1914 – as well as passing through Lisbon on his return from Argentina and Uruguay in 1916. In 1880 he took part in four concerts at the Teatro de São Carlos, Lisbon, composing and directing the orchestral version of the barcarolle “Une nuit à Lisbonne”. In 1906 he performed at the Teatro de São João in Oporto, as well as in Lisbon, once more at the São Carlos. In Lisbon again in 1914, four years after the Republican Revolution, he conducted performances of Samson et Dalila and of Proserpine at the Coliseu. He knew three generations of Portuguese Royalty and was particularly attached to Queen Amélia, maintaining contact with her and King Manuel II, even after the Republican Revolution. The 3rd Organ Fantasy was commissioned by King Manuel, in exile.

AB - The length of Saint-Saëns’ life (1835-1920), the enormous range of places he visited and people he knew, as well as the number and variety of his compositions, make it easy, in global accounts of his life and works, for details to be omitted or garbled and for connections not to be made. Portugal, on the periphery of Europe, illustrates how, when you take a particular country and study his visits, details emerge about the visits in themselves, the works he composed, played or directed, and people he came to know, correcting and adding to our perception of the musician and the man. He made three professional visits to Portugal – in 1880, 1906 and 1914 – as well as passing through Lisbon on his return from Argentina and Uruguay in 1916. In 1880 he took part in four concerts at the Teatro de São Carlos, Lisbon, composing and directing the orchestral version of the barcarolle “Une nuit à Lisbonne”. In 1906 he performed at the Teatro de São João in Oporto, as well as in Lisbon, once more at the São Carlos. In Lisbon again in 1914, four years after the Republican Revolution, he conducted performances of Samson et Dalila and of Proserpine at the Coliseu. He knew three generations of Portuguese Royalty and was particularly attached to Queen Amélia, maintaining contact with her and King Manuel II, even after the Republican Revolution. The 3rd Organ Fantasy was commissioned by King Manuel, in exile.

M3 - Abstract

SP - 16

EP - 17

ER -

Cranmer DJ. Camille Saint-Saëns and Portugal: a relationship spanning more than 40 years. 2016. Abstract from VI Encontro Nacional de Investigação em Música, Aveiro, Portugal.