Six Etudes for Left Hand, Op. 139

Camille Saint-Saens had begun as a child prodigy on par with Mozart, receiving praise from the leading lights of European music: Gounod, Rossini, Liszt. He composed abundantly and quite fluently in nearly every major genre, even though he is best known today for his chamber works and piano concertos. In addition, he was a virtuoso pianist of the top order who maintained a steady schedule of performances and international tours—still a relative novelty in the mid 19th century. Saint-Saens eventually took a position as professor of composition (his most famous pupil was Gabriel Fauré), at which point his own style grew more austere and refined. Always recognized for his classical manner, the clarity and structural integrity of his works only increased after 1890, although (and perhaps consequently) the volume dwindled. Saint-Saens wrote the Six Left-Hand Etudes, op. 139, in 1912 at a time when his composition output had begun to slow dramatically. No. 3 is a moto perpetuo that recaptures the continuous texture of Baroque preludes. One might hear reminiscences of Bach’s works for solo violin or cello. Saint-Saens indicates that the piece is to be performed without pedal and with a consistency of touch that would challenge any pianist. The chordal and contrapuntal texture of Etude No. 5 contrasts against the linearity of No. 3. No. 5 also shows the composer grappling with unexpected harmonic twists and turns, not all of which, one must admit, strike the ear convincingly. Saint-Saens is at his best in creating cantabile lines supported by rich harmonies in the manner of the romantic French chanson.

(c) Jason Stell