A Dictionary of Music and Musicians/Saint-Saëns, Camille

by Gustave Chouquet

SAINT-SAËNS, Charles Camille, born Oct. 9, 1835, in the Rue du Jardinet (now No. 3) Paris. Having lost his father, he was brought up by his mother and a great-aunt, whom he called 'bonne maman.' She taught him the elements of music, and to this day the composer keeps the little old-fashioned instrument on which this dearly-loved relative gave him his first lessons. At seven he began to study the piano with Stamaty, and afterwards had lessons in harmony from Maleden. Gifted with an excellent ear and a prodigious memory, he showed from childhood a marvellous aptitude for music, and an unusual thirst for knowledge. In 1847 he entered Benoist's class at the Conservatoire (the only one he attended) and obtained the second organ-prize in 1849, and the first in 1851 He left in the following year, but competed for the Prix de Rome, which was however won by Léonce Cohen, his senior by six years. He was not more fortunate at a second trial in 1864, although by that time he had made a name in more than one branch of composition. These academic failures are therefore of no real importance, and we merely mention them because it is remarkable that the most learned of French contemporary musicians should have gained every possible distinction except the Grand Prix de Rome.

Saint-Saëns was only sixteen when he composed his first symphony, which was performed with success by the Société de Sainte Cécile. In 1853 he became organist of the church of St. Merri, and shortly after accepted the post of pianoforte professor at Niedermeyer's Ecole religieuse. Though overwhelmed with work he found time for composing symphonies, chamber-music, and vocal and instrumental pieces—and for playing at concerts, where he became known as an interpreter of classical music. In 1858 he became organist of the Madeleine, and distinguished himself as much by his talent for improvisation as by his execution. He only resigned this coveted post in 1877, when he was much gratified by the appointment of Theodore Dubois, a solid musician, worthy in every respect to be his successor.

The stage in Paris being the sole road to fame and fortune, all French musicians naturally aim at dramatic composition. Saint-Saëns was no exception to this rule. He was in the first rank of pianists and organists, and his cantata 'Les Noces de Prométhée' had been awarded the prize by the International Exhibition of 1867, and performed with great éclat, but these successes could not content him, and he produced 'La Princesse jaune,' 1 act, at the Opéra Comique, June 12, 1872, and 'Le Timbre d'argent,' a fantastic opera in 4 acts, at the Théâtre Lyrique Feb. 23, 1877. Both operas were comparative failures; and, doubtless discouraged by so harsh a judgment from the Parisian public, he produced his next work, 'Samson et Dalila,' a sacred drama (Dec. 1877), at Weimar, and 'Etienne Marcel,' opera in 4 acts (Feb. 8, 1879), at Lyons.

Whether as a performer or a conductor, M. Saint-Saëns likes a large audience, and this desire has led him to become an extensive traveller. He has been in Russia, Spain, and Portugal, besides paying repeated visits to Germany, Austria, and England, so that he may be truly said to have acquired a European reputation. His fame mainly rests on his instrumental music, and on his masterly and effective manner of dealing with the orchestra. He is an excellent contrapuntist, shines in the construction of his orchestral pieces, has a quick ear for picturesqueness of detail, and has written enough fine music to procure him an honourable position among French composers. He lias very great power of combination, and of seizing instantaneously all the latent capacities of a given theme, both in the way of melody and harmony.^[1]

In addition to his other claims to distinction, Saint-Saëns is a first-rate musical critic, and has contributed articles to 'La Renaissance,' 'L'Estafette,' and 'Le Voltaire,' the best of which he intends to publish separately. He was elected member of the Institute, vice Henri Reber, Feb. 19, 1881.

The printed catalogue of his works includes 64 opus numbers, besides many unnumbered pieces. From it the following list has been compiled and classified.

Dramatic and lyric:—The 4 operas already mentioned, and 'Les Noces de Prométhée' (Cirque du Champs Elysées, Sept. 1, 1867); 'Le Deluge' (1876); 'La Lyre et la Harpe,' cantata composed for the Birmingham Festival (Aug. 28, 1879). Another, written for the Centenary of General Hoche (Versailles, June 21, 1868), has not been published.

Orchestral:—2 Symphonies, in E♭ and A minor; 'Occident et Orient,' march for military band and orchestra (performed at the giving away of the prizes at the Paris Exhibition of 1878); 'Marche héroïque'; 'Suite pour orchestre' (Prelude, Sarabande, Gavotte, Romance, and Finale); 4 poèmes symphoniques, 'Le Rouet d'Omphale,' 'Phaëton,' 'Danse Macabre,' and 'La Jeunesse d'Hercule'; a very important 'Suite Algérienne' (Prélude, Rhapsodie Mauresque, Reverie du Soir, and Marche militaire française); 'Une Nuit a Lisbonne,' barcarolle; 'La Jota Aragonesa,' transcription. Also a prize symphony in F (1856) for the Société Sainte Cécile at Bordeaux, a MS. overture 'Spartacus,' awarded the prize by the same society, and several minor pieces.

Sacred music:—'Messe à 4 voci' for solos, chorus, orchestra, full organ, and 'orgue d'accompagnement'; 'Messe de Requiem,' for solos, chorus, and orchestra; 'Oratorio de Noël' for ditto; 'Tantun ergo' in B♭, for chorus and organ; Psalm xix, 'Cœli enarrant,' for solos, chorus, and orchestra. Also 13 motets, and several pieces for full organ, including 'Bénédiction nuptiale' (op. 9) and 'Elévation' (op. 13).

Concerted music with orchestra:—4 PF. concertos (in D, G minor, E♭, and C minor); 3 violin concertos (in A, C, and B minor); 'Introduction et Rondo' (op. 28). 'Morceau de concert' (op. 62), and 'Romance' (op. 48), all for violin; Cello-Concerto (A minor); 'Romance' for horn or cello (op. 36, n F); 'Romance' for flute or vloin (op. 37 in D♭); and 'Tarentelle' for flute and clarinette (op. 6).

Chamber music:—Quintet for PF., 2 violins, viola, and cello (op. 14); Serenade for PF., organ, vioin, and viola, or cello (op. 15); Trio in F for PF. and strings; Quartet in B♭ for PF. and ditto (op. 41); Suite for PF. and cello (op. 16); Romance for PF., organ, and violin (op. 27); Sonata in C minor for PF. and cello (op. 32); Berceuse in B♭ for PF. and violin (op. 38); 'Allegro appassionato' for PF. and cello (op. 43); Romance in D for ditto (op. 51); Septet for PF., 5 strings, and trumpet obligato (the minuet very original).

Pianoforte:—Op. 3; 11 (Duettino in G, 4 hands); 21 (1st Mazurka); 23 (Gavotte); 24 (2nd Mazurka); 35 (Variations sur un thème de Beethoven for 2 PFs—a gem); 52 (Etudes); 56 (Menuet et Valse); and 59 (Ballade, 4 hands); besides several transcriptions of classical or popular airs, and 12 transcriptions from Bach's cantatas and sonatas.

Vocal:—Scena from 'Horace' (op. 10); 'Mélodies Persanes' (op. 26); 'Les Soldats de Gédéon' (op. 46, double chorus for men's voices, without acct.); 'Chanson de Grand Pére,' chorus for women's voices; 'Chanson d'Ancêtre,' chorus for men's voices, and baritone solo (op. 53, with acct. for orchestra or PF.); more than 40 songs to French, Italian, and English words, and several duettinos and trios.

M. Saint-Saëns is a dark, nervous-looking man, with delicate, almost sharp features, and bright intelligent eyes. In England he is no stranger. He first appeared here at the Musical Union, in 1871. In 1874 he played Beethoven's Concerto in G at the Philharmonic, and again, on July 2, 1879, his own PF. Concerto in G minor, and Bach's Prelude and Fugue in A minor on the organ. Later in the same year, Dec. 6, he played the same work, and conducted his 'Rouet d'Omphale' at the Crystal Palace. The Concerto was first introduced there by Miss Helen Hopekirk, a very rising pianist, Mar. 15, 1879; the Cello Concerto in A was played by Herr Hollman, Nov. 27, 1880, and the Overture to the 'Princesse jaune' on the 6th of the same month. At the Popular Concerts three of his works are known, the Cello Sonata (op. 32); a trio for PF. and strings in F (op. 18), and a string quartet in B♭ (op. 41).

[ G. C. ]

1. The writer retains a delightful recollection of his improvisations at the Madeleine, and will never forget a tour de force he himself witnessed in 1867. At a party where several eminent musicians were assembled, some one begged Schulhoff to play anything that came into his head. After a little pressing the fascinating pianist sat down to the instrument, and began to prelude in the bass, when Saint-Saëns drew near, and still standing, accompanied in the treble the melodies which Schulhoff was playing; then sitting down in his turn he improvised on the improvisation of his partner in a manner to captivate the most hypercritical ear. There was indeed occasionally a slight clashing of keys, but even these double modulations with contrary resolutions added to the interest with an audience composed entirely of practised musicians. It was the most extraordinary exhibition of this kind of power which ever came within the writer's observation.

Appendix p.778:

Since the article was written, the composer has produced two important dramatic works, 'Henri VIII' (Opéra, March 5, 1883) and 'Proserpine' (Opéra Comique, March 16, 1887), neither of which has kept the stage in spite of their real musical interest. The former, after a successful series of representations, was twice revived without success and almost immediately given up; 'Proserpine' was received with marked disapprobation, and only played ten times. Saint-Saëns is a consummate master of composition, and no one possesses a more profound knowledge than he does of the secrets and resources of the art; but the creative faculty does not keep pace with the technical skill of the workman. His incomparable talent for orchestration enables him to give relief to ideas which would otherwise be crude and mediocre in themselves; and it is this talent which makes him the one French musician most fitted to compete with the classic masters of the Symphony. His weakness consists not only in the inequality of his inspiration, but also in the indecision of his artistic principles; this is shown in all his compositions, and it is this which leads him to place excellent and objectionable passages in juxtaposition. For the same reason his works are on the one hand not frivolous enough to become popular in the widest sense, nor on the other do they take hold of the public by that sincerity and warmth of feeling which is so convincing. Saint-Saëns, who was made a knight of the Légion d'honneur in 1867, and an officer of the same in July 1884, is always the same incomparable pianist. It would even seem that during the last few years his talent in this direction had increased, and such receptions as he has received at the Conservatoire, where he played Beethoven's Choral Fantasia, in Russia, on the occasion of his tour in 1887 with Taffanel, Turban, and Gillet, and in London, prove him to be one of the most remarkable and earnest pianoforte players of the day. Under the title of 'Harmonie et Mélodie' (Paris, Calmann Lévy, 1885), he has published a collection of his principal contributions to periodical literature, with an introduction and appendix explaining the change which his views have undergone in relation to Richard Wagner. This volume, proving as it does the author's mobility of character and changeableness as regards ideals and tendencies, will not add materially to his fame.

To the list of works on p. 216a, add the following:—

Dramatic and Lyric:—'Henry VIII' and 'Proserpine,' mentioned above; 'Hymne a Victor Hugo' (Trocadéro, March 15, 1884); Psalm xlx, for solo, chorus, and orchestra (Sacred Harmonic Society, Nov. 20, 1885).

Orchestral:—A third Symphony in C minor, for orchestra, organ, PF., 4 hands (played at a Philharmonic Concert in May 1885), (op. 78); 'Le Carnaval des Animaux,' orchestral suite.

Concerted music with orchestra:—'Rhapsodie d'Auvergne,' for PF. and orchestra (Concerts du Chatelet, March 13, 1885).

Chamber music:—Sonata for PF. and violin in D minor; Caprice (quartet) on Danish and Russian airs for PF. and wind instruments (op. 79); Havanaise for violin and PF. (op. 83).

Pianoforte:—'Souvenir d'Italie' (op. 80), and 'Feuillet d'Album' (op. 81).

Vocal:—'La Fiancée du Timbalier,' ballade (V. Hugo), (op. 82).

[ A. J. ]