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Orient et Occident (arr Hauswirth)
Camille Saint-Saëns (ed. Hauswirth)
Subtitle: Grande Marche
This work bears the designation Opus 25.
Contents
General Info
Year: 1869 / 2014
Duration: c. 10:00
<-- av 805-1200 -->
Difficulty: VI (see Ratings for explanation)
Publisher: Editions Robert Martin
Cost: Score and Parts (print) - $255.00 | Score Only (print) - $53.00
Instrumentation
Full Score
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
Cornets I-II-III
B-flat Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium
Tuba
String Bass
Timpani
Percussion, including:
- Bass Drum
- Crash Cymbals
- Snare Drum
- Tam-Tam
- Triangle
Errata
None discovered thus far.
Program Notes
This original composition for band was composed for a gala evening of the Union Centrale des Beaux-Arts in October 1869 which was concerned with the relationship of art and industry and featured an exhibition of oriental art. The composition was dedicated to his friend, Theodore Biais. A later performance, with the composer conducting, was given at the World Fair in Paris on 21 October 1878.
- Program Note by publisher
In the style of a “grand concert march,” Orient et Occident encompasses the musical stereotypes of the East and West as known by Europeans of the time. Completed in 1869, it was the first of four original works that Saint-Saëns composed for band. His last such composition, Hail California, was premiered by the Sousa band in 1915 at the Panama Pacific Exposition in San Francisco. The premiere of Orient et Occident took place at a gala celebration of the relationship between arts and industry and was featured at an exhibition of oriental art. The composition is dedicated to Theodore Blais, a close friend of Saint-Saëns and the manufacturer of church ornaments. Forty-seven years after completing the version for band, Saint-Saëns transcribed the work for orchestra.
This composition begins with the strong march rhythms characteristic of the West. The brass and clarinets are prominent and progress into a processional legato. The central section is dedicated to the Orient, which we recognize as North Africa and the Near and Middle East. Saint-Saëns employs the oboe, clarinet, and flute with Moorish rhythms over light percussive accents from drums, cymbals, and triangles to convey the metaphor of Eastern musical style. The styles of the East and West are melded together for the grand finale that reasserts the introductory theme of the West.
- Program Note by Roy Stahle for the Foothill Symphonic Winds concert program, 8 December 2013
Commercial Discography
None discovered thus far.
Media
State Ratings
None discovered thus far.
Performances
To submit a performance please join The Wind Repertory Project
- University of Texas (Austin) Wind Symphony (Scott Hanna, conductor) – 5 October 2016
- Dr. Lawrence R. Sutherland Wind Festival Orchestra (Fresno. Calif.) (Reed Thomas, conductor) - 13 March 2016 (2016 Sutherland Wind Festival (Fresno, Calif.)
- Baden-Württemberg (Germany) Youth Wind Orchestra and The Philharmonic Winds (Felix Hauswirth, conductor) – 5 September 2012
Works for Winds by this Composer
Adaptable Music
- Le Carnaval des Animaux (Flex instrumentation) (arr. Onodera) (1886/)
All Wind Works
- Aquarium (arr. Moore) (1886/2011)
- Bacchanale (arr. Egner) (1877/1926)
- Bacchanale (arr. Hubbell) (1877/1991)
- Bacchanale from "Samson and Delila" (arr. Hanna) (1877/)
- Carnival of the Animals (arr. Brand)
- Carnival of the Animals, The (arr. Bocook) (1886/2006)
- Carnival of the Animals, The (arr Goto). See Le Carnaval des Animaux
- Chorale for Wind Band and Melodic Percussion (arr. Giroux) (2015)
- Danse Bacchanale (arr. Steiger) (1877/1985)
- Danse Bacchanale (arr. Bocook) (1877/2004)
- Danse Bacchanale (arr. Singleton) (1877/)
- Danse Macabre (arr. Bender)
- Danse Macabre (tr Hindsley) (tr. Hindsley) (1874/197-?)
- Danse Macabre (arr. Laurendeau) (1874/1903)
- Danse Macabre (arr. Brian Sheldon) (1874)
- Danse Macabre (arr. Slawson) (1874/2013)
- Part One, "Organ Symphony" (no. 3 (tr. Hindsley) (1886/197-?)
- Finale, Symphony No 3 in C (arr. Slocum) (1886/1974)
- Finale to "Hail! California" (ed. Martin) (1915/2015)
- First Movement, "Organ Symphony" (no. 3) (tr. Hindsley) (1886/197-?)
- Introduction and Rondo Capriccioso (arr. Kessler)
- La Princesse Jaune (arr. Odom) (1872/1980)
- La Princesse Jaune (arr. Lake) (1872/1929)
- Le Carnaval des Animaux (arr. Goto) (1886/2000/2012)
- Le Carnaval des Animaux (Flex instrumentation) (arr. Onodera) (1886/)
- March-Scherzo (arr. Marcus) (1853/2015)
- Marche Heroïque (arr. Winterbottom) (1871/1906)
- Marche Militaire Francaise (tr. Hindsley) (1908/1958)
- Marche Militaire Francaise (arr. Lake) (1908/1913)
- Mon Coeur s'ouvre à ta voix (tr. Niese) (1877/2012)
- Morceau de Concert (arr. Respresas Carrera) (1887/2013)
- Morceau de Concert (tr. Nelson) (1887/1979)
- Orient et Occident (ed. Whitwell) (1869)
- Orient et Occident (arr. Hauswirth) (1869)
- Orient et Occident (ed. Reynish) (1869/1995)
- Orient et Occident (arr. Schissel) (1869/2005)
- Pas Redoublé (arr. Frackenpohl) (1870/1972)
- Prelude and Processional (arr. Elkus) (1883/1957)
- Second Movement, "Organ Symphony" (no. 3) (tr. Hindsley) (1886/200-?)
- Sur les bords du Nil (ed. Hauswirth) (1908/2019)
- Theme from "Samson and Delilah" (arr. Davis) (1964)
Resources
None discovered thus far.
