Pianist, organist, composer, man of letters, astronomer and seasoned traveller Camille Saint-Saëns is one of the most fascinating figures in music. His complete mastery of form, instrumental composition and orchestration, combined with his eclecticism and boundless inspiration, make him a key figure in the history of French music. His Piano Concerto No. 2 in G minor was composed in just 17 days in the spring of 1868, at the request of the great pianist Anton Rubinstein, who wished to make his debut as a conductor in Paris. The work was premiered with Saint-Saëns on the piano on May 13 of the same year. While the audience reception was mixed, it earned the admiration of Franz Liszt, who was in attendance. The piece nevertheless quickly became one of the most frequently performed and best-loved works by the composer of Samson and Delilah.
The first movement, Andante sostenuto, opens with a majestic cadenza reminiscent of Bach’s grand organ preludes—a nod to the fact that Saint-Saëns, a supreme piano virtuoso, was also hailed by Liszt as “the greatest organist in the world.” After a brief orchestral tutti, the piano introduces a lyrical theme that Saint-Saëns is said to have borrowed from a piece by a promising young student named Gabriel Fauré. The movement unfolds in a series of virtuosic episodes, alternating between sparkling passages and more heroic ones, including an extensive cadenza.
Marked Allegro scherzando, the second movement sparkles with wit and buoyant energy—qualities that bring to mind the spirit of ballet music. Following a brief timpani introduction, the piano takes flight, light and graceful, with glittering runs and cascading arpeggios characteristic of the composer’s pianistic style. A second theme, more lyrical and warm, retains the dance-like character that gives the movement its airy charm.
Saint-Saëns ends the concerto with a spirited finale, unleashing a brilliant tarantella brimming with technical flair. Midway through the movement, a chorale emerges from the orchestra, accompanied by the piano’s forceful trills. But the spirited dance soon reclaims the spotlight, and the concerto races to a dazzling and impassioned conclusion.
