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MARCHE MILITAIRE FRANCAISE from Suite Algerienne
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THIS IS THE FOURTH AND FINAL MOVEMENT IN FRENCH COMPOSER CHARLES-CAMILLE SAINT-SAENS' SYMPHONIC POEM 'SUITE ALGERIENNE' WRITTEN IN 1880. THIS HAS BECOME FAMOUS INDEPENDENTLY AS AN ORCHESTRAL FAVORITE AND AS A CONCERT MARCH FOR CONCERT BAND.
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Contemporary band compositions, classical music arrangements, marches, jazz, symphonies, overtures. A collection from bands that I have played in throughout hi
Hello and welcome! "Symphonic Band Performances" is a compilation of recordings from several high school and college bands that I played in including the TMEA (Texas) All State Band, the TMEA Region X All Region Band, the Interlochen Arts Academy National Music Camp, the Cal Poly Tech Band, San Luis Obispo, the USAF Golden West Band, and recordings from my h.s. band, Beaumont H.S. and a few band recordings that were passed down to me. Also included are various All State groups and college and university bands. I participated and played in the large majority of these recordings. There are no professional recordings here and every recording is Public Domain. Most are available for free download. Each song has been converted from the original analog or digital source and edited with Audacity or Dak software. In the majority of these recordings, I play the tenor sax or alto sax, b flat or e flat clarinet, or directing. I was drum major for 2 years in high school, I have a BA from Cal Poly, San Luis Obispo, where I studied music ed, composition and theory. I had about 500 more recordings I was planning to digitize and upload, but this past Nov. 20th, my home was completely destroyed by fire, and all the contents, including all my music and instruments. So, this is it. Please feel free to post a comment here or on my member page. If you like, please become a fan by clicking "I'm a fan" below.
Song Info
Genre
Classical • Symphonic
Charts
Peak #68
Peak in subgenre #11
Author
Charles-Camille Saint-Saens - 1880
Rights
public domain
Uploaded
November 18, 2009
Track Files
MP3
MP3 7.0 MB • 192 kbps • 5:04
Story behind the song
This was performed on 1-13-66 by the outstanding University of Michigan Symphonic Band, conducted by the famed director, Dr. William D. Revelli. Dr. Revelli directed the band from 1935-1971. He was also our director at the Interlochen National Music Camp. The Suite "Algerienne" has for its title on the score "Picturesque Impressions of a Voyage to Algeria." As this title suggests, it is a tone picture, and its four movements need only brief description to convey the meaning of their contents. It opens with a prelude, "View of Algiers," in which the characteristic undulatory movement of the music indicates the sea, and other phrases the vessel approaching the harbor and glimpses of novel sights. The second movement, "Moorish Rhapsody," is in three closely connected sections. The first is brilliant in style, and is closely worked out contrapuntally. The second is based upon an Oriental melody and is simple in construction, and the third is marked by fantastic combinations of instruments and bizarre effects. The third movement, "An Evening Dream at Blidah," a fortress near Algiers, is a quiet, romantic nocturne. In the last movement a French military march is worked up in elaborate style. A note to the score indicates that the composer not only emphasizes his joy in viewing the French garrison, but also the security felt under its protection. Judged by the pomposity of the march rhythm, the composers joy and sense of security knew no bounds in expression. Charles-Camille Saint-Saens (9 October 1835 - 16 December 1921) was a French composer, organist, conductor, and pianist, known especially for The Carnival of the Animals, Danse Macabre, Samson and Delilah, Havanaise, Introduction and Rondo capriccioso, and his Symphony No. 3 (Organ Symphony). Saint-Saens began his musical career as a musical pioneer, introducing to France the symphonic poem and championing the radical works of Liszt and Wagner at a time when Bach and Mozart were the norms. By the dawn of the 20th century, Saint-Saens was an ultra-conservative, fighting the influence of Debussy and Richard Strauss. This is hardly surprising. Saint-Saens' career began while Chopin and Mendelssohn were in their prime, and ended at the commencement of the Jazz Age; but his image endured for years after his death. As a composer, Saint-Saens was often criticized for his refusal to embrace romanticism and at the same time, rather paradoxically, for his adherence to the conventions of 19th-century musical language.
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