" This Piece is one of the real Must-Haves for Tenor Trombone. Composed in 1915, it has often be chosen for exams and competitions, since it allows highlighting the musicality, instrumental techniques (triple tonguing, rapid slide movements) as well as the wide and warm sound of the instrumentalist. This Cavatine is an ideal and pleasant piece for concert. Several famous Trombonists have recorded it, and continue to play it all around the World. " - Olivier LACHURIE

This Sonata in 4 movements comes from a group of 3 Sonatas for wind instruments (oboe, clarinet and bassoon) composed in May and june 1921. They are the last in the catalogue of Saint-Saëns' works. - RENAUD ESCRIVA

In this first movement of the sonata, be careful not to accent the quaver in the Barcarolle rhythm so that the phrase doesn't become too heavy. In the central section, you should be more "feverish" but master your touch carefully so that the result is always limpid. - RENAUD ESCRIVA

In this second movement of the sonata, the articulations should be carefully pronounced to remain clear and intelligible in spite of the tempo. Use a light homogeneous staccato across the whole range and don't force the sound when the dynamics are loud; you will achieve like that an ample sound which is well balanced with the piano. - RENAUD ESCRIVA

In this third movement, you should contrast the registers as if they are separate instruments responding to each other. Your bass "quasi funèbre" should be ample and sonorous, though without acidity, whilst for your treble you should look for a very gentle flute sound, distant and without vibrato. - RENAUD ESCRIVA

There is a mysterious anguish which floats throughout this brillant fourth movement. The agitation and feverishness of your playing should reflect this latent anguish. At the conclusion, which refers to the first movement, avoid accenting the quaver in the Barcarolle rhythm which risks making the phrasing too heavy. - RENAUD ESCRIVA