Camille Saint-Saens: A Guide to Research (Routledge Musical Bibliographies)

CAMILLE SAINT-SAËNS

ROUTLEDGE MUSIC BIBLIOGRAPHIES Series Editor Brad Eden Composers Isaac Albéniz (1998)Walter A.Clark C.P.E.Bach (2002)Doris Bosworth Powers Samuel Barber (2001)Wayne C.Wentzel Béla Bartók (1997)Second EditionElliott Antokoletz Vincenzo Bellini (2002)Stephen A.Willier Alban Berg (1996)Bryan R.Simms Leonard Bernstein (2001)Paul F.Laird Johannes Brahms (2003)Heather Platt Benjamin Britten (1996)Peter J.Hodgson Elliott Carter (2000)John L.Link Carlos Chávez (1998)Robert Parker Frédéric Chopin (1999)William Smialek Aaron Copland (2001)Marta Robertson and Robin Armstrong Josquin Des Prez (2003)Carlo Fiore Gaetano Donizetti (2000)James P.Cassaro Edward Elgar (1993)Christopher Kent Gabriel Fauré (1999)Edward R.Phillips Christoph Willibald Gluck (2003)Second EditionPatricia Howard Charles Ives (2002)Gayle Sherwood Scott Joplin (1998)Nancy R.Ping-Robbins Zoltán Kodály (1998)Mícheál Houlahan and Philip Tacka Franz Liszt (2003)Second EditionMichael Saffle Guillaume de Machaut (1995)Lawrence Earp Felix Mendelssohn Bartholdy (2001)John Michael Cooper Giovanni Pierluigi da Palestrina (2001)Clara Marvin Giacomo Puccini (1999)Linda B.Fairtile

iii

Maurice Ravel (2003)Stephen Zank Gioachino Rossini (2002)Denise P.Gallo Alessandro and Domenico Scarlatti (1993)Carole F.Vidali Camille Saint-Saëns (2003)Timothy S.Flynn Heinrich Schenker (2003)Benjamin Ayotte Jean Sibelius (1998)Glenda D.Goss Richard Strauss (2003)Scott Warfield Giuseppe Verdi (1998)Gregory Harwood Tomás Luis de Victoria (1998)Eugene Casjen Cramer Richard Wagner (2002)Michael Saffle Adrian Willaert (2003)David Michael Kidger Genres

Central European Folk Music (1996)Philip V.Bohlman Chamber Music (2002)Second EditionJohn H.Baron Choral Music (2001)Avery T.Sharp and James Michael Floyd Ethnomusicology (2003)Jennifer Post Jazz Research and Performance Materials (1995)Second EditionEddie S.Meadows Music in Canada (1997)Carl Morey North American Indian Music (1997)Richard Keeling Opera (2001)Second EditionGuy Marco The Recorder (2003)Second EditionRichard Griscom and David Lasocki Serial Music and Serialism (2001)John D.Vander Weg

CAMILLE SAINT-SAËNS A GUIDE TO RESEARCH

TIMOTHY S.FLYNN ROUTLEDGE MUSIC BIBLIOGRAPHIES

ROUTLEDGE NEW YORK AND LONDON

Published in 2003 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE www.routledge.co.uk Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Copyright © 2003 by Timothy S.Flynn All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system without permission in writing from the author. Library of Congress Cataloging-in-Publication Data Flynn, Timothy. Camille Saint-Saëns: a guide to research/Timothy S.Flynn. p. cm. — (Routledge music bibliographies) Includes discography (p.) and indexes. ISBN 0-8153-3619-5 (Print Edition) (hardback: acid-free paper) 1. Saint-Saëns, Camille, 1835–1921—Bibliography. I. Title. II. Series: Routledge musical bibliographies. ML 134.S15F55 2003 016.78′092–dc21 2003002700

ISBN 0-203-49491-1 Master e-book ISBN

ISBN 0-203-58495-3 (Adobe eReader Format)

Contents

Preface

viii

Introduction: The Enigma of Camille Saint-Saëns

1

Biographical Sketch

1

Musical Style and Influence

6

The Present State of Saint-Saëns Research

12

1.

Selected General Sources

17

2.

Biographical Studies: Primary Sources

34

3.

Biographical Studies: Secondary Sources

43

4.

Other Primary Sources Prior to 1921

62

5.

Specialized Studies: Primary and Secondary Sources

67

Vocal Music: Operas, Dramatic Music, Sacred Music, Songs 67 Symphonic Music

78

Keyboard Music: Organ and Piano

80

Chamber Music

85

The Concerti

86

Vocal Music: Mélodies and Choral Compositions

88

6.

Correspondence

90

7.

Saint-Saëns as a Writer

96

Appendix 1.

Manuscript Sources for Selected Compositions

115

Appendix 2.

Manuscript Sources for Selected Correspondence

131

Appendix 3.

The Saint-Saëns Museum at the Château-Musée in Dieppe

134

Appendix 4.

Selected Discography (Arranged by Genre)

148

vii

Index of Authors and Editors

161

Index of Composers

164

Index of Compositions

167

Preface

The materials included in this monograph represent an overview of writings about Camille Saint-Saëns, his music, and the general period in which he lived and worked. This book is not meant to be exhaustive in its scope. Items were chosen for their importance, uniqueness, interest, and value in advancing the study of the life and music of Saint-Saëns. Every effort has been made to include works which offer differing opinions on the composer and his music. Although he was recognized as an important musical figure, he was not equally liked by other musicians and critics, nor was his music appreciated by everyone. It has also been my aim to call the reader’s attention both to the lesser-known writings on Saint-Saëns and his music, and to the most recent examples of scholarship produced in the last decades of the twentieth century. It is my hope that this brief volume may contribute to further research and investigation of the life and works of this fascinating and gifted composer, who was hailed by such luminaries as Berlioz, Gounod, Liszt, and Wagner as among the greatest musicians of his time. In any undertaking such as this there are many people whose contributions have been extremely valuable. It is my sincere pleasure to thank the following: Mrs. Barbara Shipman, for being a truly patient and persistent Inter-Library Loan librarian; Mr. Don Roberts, Head Librarian of Northwestern University Music Library, for his many kindnesses regarding the collection of Saint-Saëns letters at Northwestern; Ms. Margie Wood, Library Acquisitions, Northwestern University Music Library, for helping me obtain and examine many important sources housed in the Northwestern Libraries; and to my life partner, Dr. Michael A.Nealon, without whose support and encouragement this project would never have happened. Finally, I would like to thank my mother, Amy Eldridge, for her love and support. From her I have learned to work hard and believe in myself. Her strength and courage are an inspiration to me, and to her this book is dedicated with gratitude and love.

Introduction The Enigma of Camille Saint-Saëns

BIOGRAPHICAL SKETCH Camille Saint-Saëns (b. Paris, October 9, 1835; d. Algiers, December 16, 1921), like Claudio Monteverdi, George Frederic Handel, Ludwig van Beethoven, and Richard Strauss, is a composer whose music and career stand in two different historical periods. While each was a master of the period of his birth, each also introduced new and imaginative ideas, techniques, and sounds to the established musical vocabulary of his time. As important as each of these composers is in the chain of European art music, Saint-Saëns often appears to be standing in the shadows. Beginning only eight years after the death of Beethoven and ending after World War I, his life spanned a period of extreme social, industrial, and musical change. Although perhaps not a great innovator as were these other composers, Saint-Saëns nevertheless was fundamental in establishing an identifiable French musical style in the nineteenth century based upon clarity, concision, balance, and order. He, like Stravinsky, was admittedly an eclectic creator who could synthesize various musical styles into his own without creating slavish imitations. Examples of this are found in the symphonic poems, operas such as Samson et Dalila and Henry VIII, and in his ability to incorporate authentic Middle Eastern musical elements in works such as Samson and the Suite algérienne. A grandchild of the ancien regime, Saint-Saëns cut his teeth on the music of Mozart and Bach, as well as the piano sonatas of Beethoven. As a friend of Berlioz, Gounod, and Victor Hugo, he was intimately connected with the heralds of French Romanticism. During his tenure as professor at the École Niedermeyer, he introduced young students, among them Gabriel Fauré, to the mysteries of Schumann, Liszt, and Wagner, whose orchestral scores of Tristan und Isolde and Parsifal he could play from memory. A celebrated virtuoso pianist and organist, Saint-Saëns appeared in concerts featuring his own music as well as that of others, both traditional and contemporary. Unlike many composers, Saint-Saëns was a true Renaissance man. He was an avid reader, amateur scientist, astronomer, traveler, musicologist, ethnomusicologist, and author of poetry and prose. This aspect of his personality perhaps best shows the complex and

2 CAMILLE SAINT-SAËNS

multifaceted nature of this grand homme of French music. He was described by virtually everyone who knew him as a man of culture with a quick and inquisitive mind, not content to remain idle. This was a man and artist who possessed layers of fascinating variety which, when examined, unravel the enigma of Saint-Saëns. As a child Saint-Saëns was heralded as the second Mozart, a comparison which would remain with him for the rest of his life. His prodigious gifts at the piano and his early attempts at composition were quickly recognized by his mother and great-aunt, who immediately saw to the young Camille’s formal musical education. Before attending the Conservatoire, about which he speaks fondly in his École buissonnière, Saint-Saëns first studied piano with Camille Stamaty, a pupil of Friedrich Kalkbrenner, and organ with Alexandre Boëly, organist at St. Germain l’Auxerrois. A technician of the highest order, Boëly was a professor at the Conservatoire and an intense champion of the organ music of J.S.Bach. Saint-Saëns’s education during these early years also consisted of Latin, geometry, and the natural sciences, especially astronomy, which became a lifelong hobby for him.1 He began his studies at the Conservatoire in 1848, coincidentally the same year Louis Napoleon was elected president of France. Saint-Saëns would live through the president’s coup d’état in December 1851, when he proclaimed himself emperor Napoleon III, and the event which ultimately devastated the country: the Franco-Prussian War. During his time at the Conservatoire, Saint-Saëns won second prize in organ in 1849 and then first prize in 1851, before studying composition with Fromental Halévy. Though Saint-Saëns did not win in his attempt for the Prix de Rome in 1852, he was extremely active as a concert performer, playing such works as Beethoven’s Triple Concerto and the Choral Fantasy, as well as accompanying Pauline Viardot, who became an intimate and lifelong friend.2 Saint-Saëns was also beginning to make a name for himself as a composer during the 1850s. His now lost Ode a Sainte Cécile of 1852 won first place and consequently a premiere by the Société Sainte Cécile, as did his Symphony in E-flat major a year later.3 Like many of his contemporaries, including Gounod and Franck, Saint-Saëns began his working career as a church organist. From 1853 until 1858 he served as organist at St. Merry, during which time he composed a great deal of sacred music, including a Mass (op. 4), the Meditation, prière et barcarolle, a Tantum ergo (op. 5), an Elevation ou Communion for organ, and six motets published in 1857.4 Some of his early important instrumental works were composed and performed during this period as well, such as the Tarantelle for flute, clarinet, and orchestra (op. 6) and Six bagatelles for piano (op. 3). Another important work, his Symphony in F major, the so-called Urbs Roma, was composed during this time for a competition in Bordeaux.5 Upon Lefébure-Wely’s departure from La Madeleine at the end of 1857, Saint-Saëns was appointed organist in that prestigious and fashionable parish. Among the first compositions he wrote during his tenure there was the popular Oratorio de Noël (op. 12), which was premiered on Christmas Day 1858.6

INTRODUCTION 3

While serving at La Madeleine, Saint-Saëns held the only teaching position of his lengthy career. In 1861 he began teaching piano at the École Niedermeyer, where he made an impression upon Gabriel Fauré, Eugène Gigout, and André Messager, among others. There he introduced little-known works of Chopin, Schumann, Liszt, and Wagner into the more traditional piano repertory.7 As a teacher, Saint-Saëns enjoyed warm, friendly relationships with his students, who later in life spoke fondly of their time in his class. He was encouraging and took much interest in their compositions as well. Among the important and popular pieces composed during his time at La Madeleine and the École Niedermeyer are the first Piano Trio in F major (op. 18), the Piano Concerto no. 2 in G minor (op. 22), the Introduction et rondo capriccioso (op. 28) written for Sarasate, and his first attempt at opera, La princesse jaune (op. 30). In addition to his church position and his various compositional projects, Saint-Saëns also continued to be an extremely busy concert artist and, in order to pursue his career as a performer, he resigned from the École Niedermeyer in 1865.8 This, however, did not prevent him from maintaining his friendship with his former pupils, especially Fauré; but it marked a turn from traditional classroom teaching to a concentration upon a concert career. As a pianist, Saint-Saëns offered the public Mozart concerti, in addition to works by Schumann, Liszt, Bach, Rameau, and Couperin, and in 1865 he gave the Parisian premiere of Schumann’s A minor concerto.9 He eschewed an overtly emotional and sentimental style in performance; he rather “approached his playing with the primary objective of being as faithful as possible to the composer’s intentions.”10 According to the first-hand evidence of Isidore Philipp, “his technique proceeded from the great classical tradition. Despite his admiration for Liszt, Saint-Saëns did not imitate him... he never departed from his principles of clarity and precision without ever falling into exaggeration.”11 Philipp further noticed that his articulation was simple, that his fingers worked, not his arms, and that Saint-Saëns “produced a beautiful legato which is neglected by the majority of virtuosos today.”12 His composure and deportment gave the audience a sense of coldness and aloofness for which he was often criticized. The time immediately preceding the Franco-Prussian War of 1870 found the composer occupied with negotiations for a performance of his most recent theatrical work, Le timbre d’argent (which was not ultimately to occur until 1877), and the composition of several songs. However, in 1867, the seduction scene from Samson et Dalila was performed privately at the composer’s home before a group of stupefied guests.13 Thus, despite his current problems with management of the opera, the seed for his most famous and popular operatic work was not only planted but beginning to bear fruit. His performing continued unabated. During the siege of Paris, Saint-Saëns was a member of the National Guard and often gave benefit concerts to raise funds for those wounded in the struggle. And, according to Georges Servières, this began the period where SaintSaëns “produced some of his most personal and remarkable works.”14 It was also at this time that the composer, along with Romain Bussine, founded the Société

4 CAMILLE SAINT-SAËNS

Nationale de Musique to further the cause of modern French music after the Franco-Prussian War. Often criticized for reverse discrimination of sorts and extreme nationalism, the Société Nationale nevertheless rendered a great service to contemporary French composers by giving the public an opportunity to hear new works. Its foundation was in part reactionary, but it did premiere such works as Debussy’s Prelude de l’après-midi d’un faune. After the fall of Paris, many in French musical circles were anxious to demonstrate their own artistic excellence, and for a while, the French musical scene was heavily nationalistic. When foreign compositions began to figure more prominently in their concert programs, the original co-founders, Saint-Saëns and Bussine, resigned. Saint-Saëns’s career nearing the end of the nineteenth century can arguably be said to betray the influence of Franz Liszt. Although the composers had met each other years earlier, and Saint-Saëns had introduced Liszt’s music to his students at the École Niedermeyer as well as to concert audiences, in the late 1860s and the 1870s their friendship grew. Saint-Saëns’s loyalty to the music of Liszt never wavered, and he was often solely responsible for securing performances of Liszt’s music in Paris at a time when this music was not accepted. Saint-Saëns recalled dealing with much opposition from performers, theater management, and the public alike, but he wanted to “lay a foundation” for the future of Liszt’s music.15 The favor was returned. Not only did Liszt premiere Samson et Dalila in Weimar in 1877, but he remained constantly interested in Saint-Saëns’s compositional activity in general.16 Saint-Saëns not only dedicated a setting of the Veni Creator to Liszt, but he also dedicated the “Organ” Symphony to the memory of the master as well. The composers were in correspondence only months before Liszt’s death. Saint-Saëns found Liszt to possess a unique honesty, forthrightness, generosity, and “greatness of spirit,” while the latter believed Saint-Saëns to be the greatest organist of his day. Liszt was also fond of SaintSaëns’s transcription for the organ of his St. François d’Assise, La prédiction aux oiseaux.17 It was during the 1870s that Saint-Saëns composed his symphonic poems Le rouet d’Omphale (op. 31), Phaéton (op. 39), Danse macabre (op. 40), and La jeunesse d’Hércule (op. 50). Some writers have naturally compared these works to the tone poems of Liszt, and while they indeed owe something to Liszt’s models, Saint-Saëns “tends to base his symphonic poems on a literal, physical detail…which he then works out abstractly.”18 This approach would suggest that Saint-Saëns was thinking more symphonically and less programmatically. The younger composer also more often turned to antiquity for his inspiration than did Liszt. This period of creativity also included several religious compositions, such as the Requiem, some chamber music and songs, as well as many concert performances as organist and pianist.19 Personal tragedy plagued the composer during the end of the century. He married Marie Laure Emilie Truffot only to abandon her not long after the premature and horrific deaths of both his sons: one fell from a fourth-floor window, and the other died of a childhood disease. In the 1870s and 1880s,

INTRODUCTION 5

Saint-Saëns also lost the other two people most dear to him, his great-aunt (1872) and his mother (1888). With a profound sense of depression, and on the verge of suicide, Saint-Saëns took refuge in his beloved Egypt and Algeria. Because of delicate health, which stemmed from his childhood, the composer always escaped the cold, dreary Parisian winters for the exotic climes of Africa and the Middle East. These mystic and extraordinary countries, where he mingled with street musicians, foreign tourists, and political dignitaries, provided Saint-Saëns with depths of inspiration for his compositions. These “working holidays” resulted in such pieces as the Suite algérienne (op. 60), Africa, for piano and orchestra (op. 89), and the Piano Concerto no. 5 (op. 103), not to mention the works which he merely took with him on vacation to complete. Always anxious for success in the theater, Saint-Saëns continued to compose operas, some of which were commissions from Monte Carlo. He also composed theatrical spectacles such as Déjanire (1892), written especially for the outdoor festival in Béziers. The ancient Colosseum-like atmosphere appealed to his classical aesthetic. However, his love of historical subjects is also present in other works, including the operas Étienne Marcel (1879) and Henry VIII (1883), which borrows an early musical theme he found in the Buckingham Palace library. Despite his reasonable successes on the lyric stage and his more than twenty operas and stage works, Saint-Saëns never really became known as a theater composer, but rather as an instrumental composer and performer. However, this is unfair and rather limiting. In actuality, there was almost no genre at which Saint-Saëns did not try his hand. He was an avid composer of chamber and orchestral music, but he also contributed an extensive song repertory, much choral music (sacred and secular), piano and organ works, band music, and oratorios, as well as incidental and ballet music. He was even the first to compose a film score.20 Like Hindemith after him, Saint-Saëns was attentive to instruments which were neglected in the solo or chamber repertory, composing various chamber pieces featuring trumpet, harp, trombone, horn, clarinet, and bassoon. The majority of Saint-Saëns’s famous and most powerful compositions date from the end of the nineteenth century: the “Organ” Symphony (1886), the last two piano concerti (1875 and 1896), the third violin concerto (1880), and various piano works (opp. 106 and 111). By the turn of the century, much of his music displayed a rather academic and neoclassical character, notably the preludes and fugues for organ (op. 109) from 1898, the first string quartet from 1899, the string quartet no. 2 (1918), the six fugues for piano (op. 161) of 1920, and the three sonatas from 1921 for oboe, clarinet, and bassoon respectively. Even the larger dramatic works often possessed a more antique flavor in theme and music. It is especially worth noting that in the pre-war years of the twentieth century, SaintSaëns concentrated a great deal upon chamber music and choral works rather than symphonic music and concerti. Although some consider him to have been reactionary during this time, in light of Wagner’s popularity in France and the resurgence of French nationalism

6 CAMILLE SAINT-SAËNS

in the post-World War I era, that would merely ignore the innovations and novelties which Saint-Saëns effected in some of his music. His career offered many unique contributions to the art of music: the first attempt at film music; the revival of outdoor spectacles in the spirit of ancient Greece; the use of authentic Middle Eastern musical elements in his scores; the variety of musical genres in which he composed; his creative use of the orchestra and instruments; his work as a musicologist in editing the music of Rameau and Gluck; his own writings on music and art; and his tireless schedule as a concert performer. In the final years of his life, Saint-Saëns was viewed as either a bitter old conservative who lacked genius and depended upon tradition rather than innovation, or as the patriarch of French music whose grace and refined taste in form and character were hallmarks of his style and noble paradigms for future generations. Perhaps only the possessor of a discerning ear and a historical sense will be able to decide. MUSICAL STYLE AND INFLUENCE It is perhaps easier to identify those who influenced Saint-Saëns than those whom he influenced. His music bears the precision of Mozart and Mendelssohn, the contrapuntal artifice of J.S.Bach, the romanticism of Beethoven, and elements of Franz Liszt; one can even make associations with Wagner. However, what was Saint-Saëns’s legacy? To whom did he pass the torch? What impact did his musical style have upon succeeding generations? Saint-Saëns’s music is known for its concision, its neatness of form, its directness, and its brilliant virtuosity, but this is not new. He was simultaneously praised and criticized for these characteristics in his own lifetime. Busoni considered the composer to be the “last in the line of the Mozart school,” which he felt included Rossini, Cherubini, Mendelssohn, Gounod, and Bizet.21 Romain Rolland compared the composer to Voltaire because of his clarity of thought, elegance, and precision of expression, while in purely musical terms, he compared him to Mendelssohn. Rolland went further to mention Haydn, Mozart, Wagner, and Liszt as being influential as well, although he gives no specific evidence.22 Such is the eclectic style of Saint-Saëns. His piano music perhaps best demonstrates the duality of his style and his eclecticism as a composer. His solo piano repertory can be divided into two categories, as Isidore Philipp has mentioned: traditional forms (variations, études, dance forms, etc.), and character pieces, or intentions pittoresque (Rhapsodie d’Auvergne, the Chanson napolitaine, and the like).23 These divisions are not arbitrary; rather, they imply certain style characteristics. The Six études pour le piano, op. 52 (1877), contain two preludes and fugues (F minor and A major), the first of which is dedicated to Anton Rubinstein and the second to Nicholas Rubinstein in the edition published by Dover. While the F minor prelude and fugue may initially invite comparison with the style of pieces found in Bach’s Well-Tempered Clavier, the listener soon realizes that this is no pseudo-Baroque composition. The bravura style and subtle harmonic twists of the prelude as well

INTRODUCTION 7

as the character of the animated fugue breathe new life into traditional forms. Likewise, while the A major prelude rivals Chopin’s E major Étude of the op. 10 collection, the introspective and graceful fugue possesses the refined musical qualities characteristic of the composer. Although they are traditional forms and contain traditional elements, these two études are clearly not mere imitations of another period or style. To demonstrate another side of Saint-Saëns’s personality, the Allegro appassionato, op. 70, is clearly Lisztian, as is the Rhapsodie d’Auvergne, op. 73, both composed in 1884. These multi-sectional works contain extremely virtuoso elements including octave scales at fast tempi, filigree runs and arpeggios, challenging gestures, and extremes in register. However, this virtuoso style is common in much of the piano repertory of the time, and while Saint-Saëns could be accused of catering to the dilettante tastes of the salon and the general public, these compositions are among his more contemporary works. So is Les cloches de Las Palmas from the Six études, op. 111, of 1899. In addition to being virtuoso in character, this piece finds a parallel not in Liszt’s Les cloches de Genève, as one might expect, but more in Les jeux d’eaux a Villa d’Este, written between 1867 and 1877 and published in 1883. Just as modern and innovative are the second and fourth piano concerti, where the composer’s unique approach to the genre is apparent. Writers including Paul Pollei, Sabina Teller Ratner, and Charles David Lehrer have examined the virtuoso elements and qualities of these two works. They identify their Lisztian style characteristics, the use of Baroque toccata and passacaglia forms, and the distinct bravura style of these pieces.24 Also apparent is Saint-Saëns’s penchant for multi-sectional single movement forms. Not content completely to follow the classical formal designs, he often divides a movement into several subsections which do not always correspond to the traditional formal structures of the concerto. For example, the first movement of the second piano concerto consists of no fewer than five subsections denoted by change in tempo, while the first movement of the fourth concerto (according to the Durand edition) is in two sections, and the second movement is in three distinct sections.25 The Cello Concerto no. 1 in A minor (1872) contains one of the most fascinating formal designs in all of Saint-Saëns’s oeuvre. It is actually in one large movement; the composer creates a sonata form with two additional forms tucked inside. The concerto opens with the exposition which, in addition to a primary and secondary theme, also contains a new theme in F major prior to the development. The brief development section is followed not by the recapitulation as expected, but rather by a charming and elegant minuet, itself in an ABA′ form. Seamlessly, the minuet dissolves into the recapitulation of the primary theme. This leads into another section marked “un peu moins vite,” where a passionate melody in A minor is introduced with a contrasting section in F major (unrelated, however, to the F major of the exposition). This section builds to a rousing coda which reintroduces material from the beginning of the concerto. Here Saint-Saëns adroitly re-creates a large-scale sonata form with thematic unity.

8 CAMILLE SAINT-SAËNS

Formal innovation is not the only interesting aspect of Saint-Saëns’s music. The violin sonata, op. 102 of 1896, and the second piano trio in E minor, op. 92 of 1892, contain some colorful harmonic language and key relationships as well as other unique, creative elements. In this sonata Saint-Saëns uses Greek poetic meter to govern the accents of the second theme of the first movement. He told his publisher Durand the work was “not a concert sonata as the first one [violin sonata, op. 75], it is definitely a chamber sonata, very serious. It will be understood only on the eighth hearing.”26 In another letter to Durand, SaintSaëns explains more fully the mysteries of the sonata’s rhythm and indicates the long and short durations with respect to poetic meter.27 This work also contains some interesting harmonic relationships. The second movement, Scherzo, is in the key of E-flat major, with the Trio section in the closely related key of A-flat major. The Scherzo returns in E-flat major to conclude the movement. However, the third movement, Andante, is in the key of B major, or the raised dominant of the previous movement. This Andante is a delicate arabesque with dreamlike qualities emphasized by the occasional use of whole-tone scales. After a contrasting Allegretto scherzando section, the primary theme returns, first in the key of D major before resuming the original B major. The second piano trio, op. 92 from 1892, is also an unqualified masterpiece. From the beginning, its five movement formal design is unique in Saint-Saëns’s oeuvre, with only the op. 16 cello suite and Le carnaval des animaux being the other chamber works with more than four movements.28 It would almost seem as though the number five held some significance for the composer, for not only is the trio in five movements, but the second movement is in five-eight and fivefour meter throughout. The use of less traditional meters is unusual for SaintSaëns, but not unique. For example, the “Carillon” from the op. 72 Album pour piano is in seven-four, and in the ballet music Javotte the composer also employs five-four. Harmonically, this trio presents some colorful twists. The key relationship between the second movement in E major, and the third movement, Andante con moto in A-flat major, is striking. Saint-Saëns’s internal modulations are rather traditional, consisting primarily of third and dominant relationships, modal interchange (E major to E minor), and other closely related keys. Within the Andante, Saint-Saëns travels from A-flat major and F minor to F-sharp minor (with help of the common tone A-flat/G-sharp), and then back to A-flat major at the conclusion. The composer shifts from A-flat of the third movement to G major of the fourth movement by giving the cello and violin octave E-flats (flat VI in G major) which act as the dominant of A-flat. They move from the E-flat down a half-step to a D, which in effect becomes the dominant of the key of the new movement, G major. Saint-Saëns’s friend Charles Lecocq described this “delicious” movement as an “intruder” (no doubt due to the slightly abrupt transition), but, he continued, it is “so pleasing” that it cannot be dismissed.29 Lecocq also commented upon the powerful finale, which combines the qualities of an intense and unrestrained improvisation, which (by admission) Saint-Saëns was trying to achieve, with the more academic structure of a fugue.30

INTRODUCTION 9

This finale, like so many other compositions of Saint-Saëns, demonstrates the ease with which the composer incorporates a diversity of style, texture, and color. Admittedly eclectic, Saint-Saëns was really not bound by convention and conservatism; rather, he maintained a healthy respect for tradition “without which art is like a tree that has no roots,” and it is not possible “to keep a tree alive by hacking away at its roots.”31 From this analogy it is obvious that SaintSaëns viewed music as a natural, living, growing organism; however, he warned against “straining after originality.” In an address to the students at the FrenchAmerican conservatory at Fontainebleau just months before his death in 1921, he said: Above all, let the young avoid all straining after originality. Allow your personal contribution to music to express itself naturally. By eagerly desiring to be original, the result is very likely to be a blend of folly and bizarrerie…. At this very moment the entire world of music is suffering from a like disease: a craving for novelty at any cost.32 It was this conservatory, emerging after World War I, which trained so many gifted American composers and instrumentalists and with which Nadia Boulanger was associated. While there was documented animosity between her and Saint-Saëns, they nevertheless shared this unique aesthetic.33 “Although Nadia never claimed that order alone made a work of art great, she told Strachan that, in great works, order is supreme.”34 Boulanger also believed that throughout music history it was form that changed the least. During his long and illustrious life, Saint-Saëns found formal design to be of primary importance in art: “To me art is form above all else.”35 This quote may have served as his motto, for he did not agree with those who believed that art was only “expression and passion.” While music “lends itself wonderfully well to expression, and that is what the amateur would expect,” Saint-Saëns felt that “it is quite different for the artist.” The composer responds to a higher calling and cannot merely be satisfied with the emotional and passionate effects of art. “The artist who does not feel thoroughly satisfied with elegant lines, harmonious colors, or a fine series of chords does not understand art. When beautiful forms accompany powerful expression, we are filled with admiration, and rightly so.”36 It was this insistence upon the importance of musical form that lead Charles Koechlin to view Saint-Saëns as a “sort of precursor” to Stravinsky. Koechlin indicates, “Pour Strawinski la musique ne saurait rien exprimer. Et voici: nous avons la surprise assez joyeuse de voir en feu Camille Saint-Saëns une sorte de précurseur de l’actuel Strawinski, dans sa recherche de la perfection abstraite de la Form.”37 Undoubtedly Saint-Saëns played a very important role in the French classical renaissance during the late nineteenth and early twentieth centuries. He has been credited as being the first major French composer to “utilize the dance idioms of the seventeenth and eighteenth centuries.”38 However, this is not surprising given Saint-Saëns’s more than passing interest in the music of Bach,

10 CAMILLE SAINT-SAËNS

Handel, Rameau, Lully, Gluck, and Mozart, not to mention his intense commitment to musical form. Specific examples of this are found in his Suite pour orchestre (1877), the Septet for trumpet, strings and piano (1882), Sarabande et rigaudon (1892), the “Bourée” and “Gigue” from the Six études, op. 135 (1912), as well as the many preludes and fugues, including those from the Six études, op. 52 and op. 111 (1877 and 1899) and the organ preludes and fugues, opp. 99 and 109 (1894 and 1898), among other works. Saint-Saëns used classical models throughout his career without being self-conscious, much like Manet’s Olympia (1863) is related to Titian’s Venus of Urbino, or as Renoir’s Bathers (1884–87) cannot avoid being compared to classical representations of the three Graces. These earlier forms and genres were merely expressive means for Saint-Saëns’s creativity. However, his interest in the French classical tradition, which began during his association with the Société Nationale after the Franco-Prussian War, sparked other French composers to investigate not only their national musical heritage but also to stretch the limits of their contemporary musical world. In this aspect Saint-Saëns affected, to varying degrees, the music of both his contemporaries and of succeeding generations of French composers, not only Ravel but also Ernest Chausson, Albert Roussel, Claude Debussy, Francis Poulenc, and the Swiss composer Arthur Honegger, among others. Perhaps it was Maurice Ravel who understood and appreciated Saint-Saëns’s aesthetic and style the best. Hélène Jourdan-Morhange indicated that “Ravel always defended Saint-Saëns’ music against his detractors.” She has quoted Ravel as saying that Saint-Saëns’s music is “finely put together, which is not negligible. Nothing is better written than his piano concertos and young composers will always have a lot to learn from his orchestration…. He composes within an architectural order.”39 Alfred Casella remembered Ravel’s “inclination to start from some musical model—to place himself in front of a Mozart sonata or a Saint-Saëns concerto as a painter in front of a landscape or a sitter.”40 Ravel’s praise of Phaëton and La jeunesse d’Hercule is also documented, as is the influence of Saint-Saëns’s music upon his own Piano Trio in A major (1914), Le Tombeau de Couperin (1917), and the G major piano concerto (1931).41 Saint-Saëns’s Septet, op. 65, with its classically styled movements of “Prelude,” “Menuet,” “Intermède,” “Gavotte,” and “Final,” may have been the stimulus for Chausson’s Concert en ré (1891) and Roussel’s Suite pour piano (1910), which also contain Baroque dance movements, according to Scott Messing.42 But there are more striking similarities between the “Menuet” of Debussy’s Petite suite (1888–89) and Saint-Saëns’s “Menuet” from the Menuet et valse, op. 56 (1878) which betray the younger composer’s familiarity with his senior’s music composed just ten years before. This homage to the past was not an isolated instance for Debussy. His Suite bergamasque (1890–1905), with its “Prelude,” “Menuet,” and “Passepied,” and the suite Pour le piano (1894–1901) with its “Prelude,” “Sarabande ,” and “Toccata,” also attest to his interest in earlier forms and styles. Both Debussy and Ravel also composed works in homage to Joseph

INTRODUCTION 11

Haydn, a composer admired by Saint-Saëns, and one whose works he often played.43 Like Saint-Saëns, Debussy had a fondness for the music of Rameau, and despite their mutual animosity, in addition to Saint-Saëns’s position as general editor of the Rameau Complete Works, Debussy was given the job of editing Rameau’s opera Les fêtes de Polymnie. Later composers to be touched by the musical aesthetic and style of SaintSaëns include Francis Poulenc (1899–1963) and Arthur Honegger (1892–1955). The Swiss composer Honegger echoed Saint-Saëns’s devotion to musical form, when he stated that “I attach great importance to musical architecture.”44 Whereas Honegger had his own ideas about musical form which may not have always been in agreement with Saint-Saëns, he nevertheless believed form to be of primary importance in composition. His Cello Concerto of 1929, with its large multi-sectional one-movement design, is formally and stylistically similar to Saint-Saëns’s Cello Concerto no. l.45 However, the Frenchman Francis Poulenc admitted to the direct influence of Saint-Saëns upon his Trio for Oboe, Bassoon, and Piano from 1926. He stated: For those who accuse me of being careless with form, I will not hesitate to divulge my secrets: the first movement is based on the structure of a Haydn allegro, and the Rondo finale derives from the scherzo movement of SaintSaëns’ second concerto for piano and orchestra. Ravel always counseled me to use this method which he often followed himself.46 In this quote not only does Poulenc support the fact that Ravel used this same “method” in his compositional process already mentioned by Alfred Casella above, but that Poulenc found Saint-Saëns’s formal designs to be conducive to his own compositions as well. Poulenc also indicates by this quote that in general the formal organization of a composition was important to him too. Poulenc’s musical structures, according to Keith Daniel, are “quite conservative, reflecting the neoclassical tendency to hark back to the conventions of the early eighteenth century.” Daniel also notes that the more popular instrumental forms for Poulenc are rondos and ternary (ABA′) forms.47 The latter is common to Baroque dance forms as well as Romantic songs. Poulenc’s melodic lyricism is also a characteristic of Saint-Saëns’s musical style. Therefore, despite the obvious differences in the general styles of Poulenc and Saint-Saëns, there are nevertheless characteristics which they hold in common. Saint-Saëns and Igor Stravinsky represent two stylistically diverse trends in twentieth-century music; but one element which forms a link between them is their mutual interest in classicism. Like so many others, Stravinsky also composed many works in the neoclassical style during the early to mid-twentieth century. Not only are compositions such as Oedipus Rex, Apollon Musagète, and Perséphone characteristic of this sty le in various way s, but they also take as their subjects stories and elements from classical antiquity. Throughout his long career Saint-Saëns also demonstrated his penchant for classical subjects. This is

12 CAMILLE SAINT-SAËNS

found as early as the 1850s with his music for Antigone, and in the 1860s with his duet Scène d’Horace and the “Spartacus” Overture. This fondness for subjects modeled from classical antiquity continued through the nineteenth century and into the twentieth century, beginning with his symphonic poems Le rouet d’Omphale (1872), Phaéton (1873), and La jeunesse d’Hercule (1877), and his operas, including Proserpine (1887), Phryné (1893), Hélène (1903), and Déjanire (1892/1911). Several other works throughout his career also attest to his interest in antiquity. Saint-Saëns’s eclectic style, encompassing the Romantic avant-garde of Liszt and Wagner, the refined and elegant styles of the Baroque and Classical periods, and the exotic spices of non-Western musical cultures, spoke to audiences and musicians during his lifetime and continues to move us in the present day. His fondness for clarity, the importance of formal organization, and his desire to create well-crafted music are elements that continue to be of great importance to many composers of the present day, even though they speak a different language. SaintSaëns’s contribution to music history cannot be minimized. His audience continues to grow, as witnessed by the increasing amount of serious inquiry into his music and life, as well as the growing catalog of recent high-quality recordings which show that Saint-Saëns remains a popular and important composer. THE PRESENT STATE OF SAINT-SAËNS RESEARCH During the composer’s life there were several substantial biographical studies available. Some of these date from the nineteenth century, such as Camille Bellaigue’s M.Camille Saint-Saëns (1889), and Georges Servières’s Musique française moderne (1897) [#47] with its lengthy chapter on the composer. There are several from the early twentieth century as well, including Émile Baumann’s Les grandes formes de la musique: L’oeuvre de Camille Saint-Saëns (1905) [#53], Jean Bonnerot’s Camille Saint-Saëns: Sa vie et son oeuvre (1914) [#55], and Jean Montargis’s Camille Saint-Saëns: L’oeuvre, l’artiste (1919) [#74]. The composer’s death in 1921 inspired several posthumous monographs, including Bonnerot’s Saint-Saëns, 1835–1921: Sa vie et son oeuvre (1922), and an early English-language monograph by Watson Lyle, Camille Saint-Saëns, His Life and his Art (1923) [#129]. Immediately following the composer’s death there were also numerous articles, studies, and special issues of journals which celebrated his life and work. Notable among these is the 1922 issue of Le guide du concert [#63], which contains 29 articles on the composer and his music. During his lifetime Saint-Saëns and his music were frequently the topic of articles in the French press and occasionally throughout Europe. There exist studies of specific works, including Edmond Hippeau’s series of articles on Henry VIII [#204], which was published as a separate monograph in 1883. Writings of this type are primarily examinations of the dramatic music and include two works by Étienne Destranges, Étude sur “Samson et Dalila” (1893)

INTRODUCTION 13

[#197], and Un partition méconnue: “Proserpine” de Camille Saint-Saëns (1895) [#198]; Jules Combarieu’s article “Musique contemporaine: Les Barbares, tragédie lyrique en trois actes et un prologue…” (1901) [#189 and #190]; and Jean Chantovoine’s monograph L’oeuvre dramatique de Camille Saint-Saëns (1921) [#186]. Immediately following the composer’s death, studies of SaintSaëns’s music, such as Collet’s “Samson et Dalila” de Camille Saint-Saëns (1922) [#188], continued to appear, though less frequently. After his death it seems as if Saint-Saëns became a peripheral figure in music history. From the 1930s through the 1960s only sporadic studies appeared, and more often any discussion of the composer and his music was relegated to chapters dedicated to nineteenth-century French music. In the case of René Dumesnil’s La musique en France entre les deux guerres (1946) [#14 and #15], Saint-Saëns is only mentioned in passing and his final years are dismissed as being relatively unimportant. In Coeuroy’s monograph La musique française moderne (1922), [#6] the composer receives no mention while Fauré, d’Indy, and other contemporaries do. Writing one year after Saint-Saëns’s death, it is obvious that the author did not view him as “modern.” On occasion Saint-Saëns was included in monographs, such as Donald Brook’s Five Great French Composers (1946) [#5] and Pierre Lalo’s De Rameau a Ravel (1947) [#33]. He was also the subject of articles in the periodic press, including those by fellow composer Charles Koechlin [#124], and Léon Vallas’s examination of letters between the composer and Vincent d’Indy [#276]. There appeared other studies of SaintSaëns’s letters by Jean Bonnerot [#262] and Adolphe Boschot [#263] in the 1950s. In 1965, on the one hundred thirtieth anniversary of the birth of the composer, James Harding wrote the second major, and first modern English language biography on Saint-Saëns and “his circle” [#122]. However, according to Michael Stegemann [#251], it is not without error. Despite its shortcomings, this monograph arguably may have helped ignite a Saint-Saëns revival in America, which was more fully realized in the 1970s with a series of very fine dissertations. These studies provide much insight into the piano works [#237], the symphonies and symphonic poems [#223], the piano concerti [#247], the chamber music [#243], and the organ music [#240]. In addition to these noteworthy examples of critical and historical inquiry there were other valuable contributions to Saint-Saëns research during this time in the U.S. and Europe. Beginning in 1971, they include Marcel Nussy Saint-Saëns’s address on the composer and the Béziers festival [#211]; Daniel Paquette’s 1972 re-examination of Saint-Saëns’s place in the late twentieth century [#131]; Michael Stegemann’s article on Saint-Saëns and Germany in 1978 [#146]; and a series of articles on Samson et Dalila in L’avant-scène opéra of the same year [#182, #183, #199, and #201]. The succeeding decades of the 1980s and 1990s were just as productive. Scholars of the highest quality have contributed specialized articles on the operas, symphonies, concerti, and keyboard music. Important recent monographs

14 CAMILLE SAINT-SAËNS

have broken ground on Saint-Saëns’s concerti [#251], brought previous unpublished letters before the public [#275 and #272], and given all those interested in Saint-Saëns and his period two English-language biographies. The last twenty years have happily seen a steady increase in scholarly inquiry into the music, career, and person of Camille Saint-Saëns, and on the eve of the twentyfirst century that research came to a climax with two English-language biographies by Stephen Studd [#152] and Brian Rees [#139]. In March 2000 the eminent French scholar Yves Gérard shared with the present writer some recent exciting developments in Saint-Saëns research. He and Sabina Ratner are busily at work on a complete thematic index of the music of Saint-Saëns. The first volume, dedicated to orchestral and instrumental music and edited by Dr. Ratner, has been published by Oxford University Press. The second volume which will contain the operatic and dramatic music, and the third containing the melodies, religious works, and cantatas are both forthcoming. Another much awaited and welcomed addition to Saint-Saëns scholarship, which M.Gérard mentioned, will be the first catalog of approximately 500 letters and notes addressed to the SaintSaëns from other famous composers. In addition to this, he is also writing a major French-language biography of the composer to be published by Fayard. At the present time there are many important and inspiring new sources on the horizon which will contribute greatly to Saint-Saëns research. In addition to these invaluable scholarly contributions, there has been new interest in recording Saint-Saëns’s music in the last decade. The 1990s witnessed a dramatic increase in the variety of compositions by Saint-Saëns which were recorded. These include the Six études, opp. 111 and 135 for left hand; the Mélodies persanes, op. 26; dozens of songs without opus numbers; preludes and fugues for organ, opp. 99 and 109; the ballet music to Javotte; and the earlier symphonies. All of these are welcomed additions to the body of works so often recorded. In light of the advancements in Saint-Saëns research, there is still more to be done. It would be most valuable to have a comprehensive study of the operas and dramatic music of Saint-Saëns. Like Steven Huebner’s monograph on Gounod’s operas, such a study should examine the libretti, sources, manuscripts, and compositional history of each work. While dissertations have been written on the piano concerti of Saint-Saëns, it would be valuable to have an in-depth study on the violin concerti, and the other concerted works as well. There is currently no research on the composer’s solo songs, of which there are many. According to the preliminary work done on this repertory by Frits Noske [#255] and Kathleen Randles [#257], not to mention the resurgence in recording so many of them in the recent decades, they are certainly worthy of further investigation. Likewise, the composer’s sacred choral music is ripe for study, as are Saint-Saëns’s views on religious music. Despite the emergence of two very recent biographies, there is always more to be done in this area, and Yves Gérard’s forthcoming monograph will be most welcomed, as will be his organization of the Saint-Saëns’s letters in Dieppe. Currently the present author is examining the correspondence of Saint-Saëns housed in the music library at Northwestern

INTRODUCTION 15

University. This collection contains over 200 items and offers insights into SaintSaëns’s views on other composers and their works, performers, religious music, and the like, while simultaneously confirming his locations while traveling during the last decades of his life. The life and music of Saint-Saëns are at once simple and complex. His life was long and productive, spanning a period of history which witnessed great artistic and social change throughout the world. He saw railroads and steamships replaced by automobiles and great ocean liners. He learned to read by candlelight, and by the end of his life electricity was taken for granted by much of Western civilization. In the musical world of his youth he knew such diverse composers as Berlioz, Rossini, Gounod, Bizet, Wagner, and Liszt. And while he championed the avant-garde of the latter, he could not bring himself to accept the new avant-garde of Debussy, Strauss, and Stravinsky. The great strides in scholarly activity which have shed new light on the career and music of SaintSaëns have led the way to further inquiry and have set high standards which will challenge all of us who follow. Notes 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

#152, p. 11. #139, p. 60–61 #47, p. 287–88. Ibid., p. 288–89, For a detailed description see #222 p. 309–25. #47, p. 289–90, #152, p. 49. Ibid., p. 59. Ibid., p. 61–62 Ibid., p. 59–61 #235, p. 40. Ibid., p. 40–41 #152, p. 68. #47, p. 301. #286 p. 123–24. For more detailed information on the relationship between Liszt and Saint-Saëns see also #269 and #143. Edward N.Waters, ed., trans. by William Tyler, The Letters of Franz Liszt to Olga von Meyendorff 1871–1886, p. 300. #223, p. 226–27. #47, p. 306–26. For more information on this see #147. #156, p. 170–73. #140, p. 368. #235, p. 40. See #248, #237, and #37.

16 CAMILLE SAINT-SAËNS

25. In #37, Lehrer arguably identifies the second subsection of the first movement of concerto no. 4 as a distinct second movement. 26. This letter is quoted in #243. Elizabeth Harkins also gives a fuller description of the composer’s application of this technique. See p. 34–39. 27. Ibid., p. 35. 28. Ibid., p. 64. 29. #243, p. 63. Harkins quotes at length a letter from Lecocq dated January 9, 1893 in which he more fully describes his thoughts on this trio. 30. Ibid., p. 57–58. 31. #288, p. 20 and 180. 32. #288, p. 177. 33. In Léonie Rosenstiel’s monograph, Nadia Boulanger: A Life in Music (Norton, 1982), Saint-Saëns’s open animosity toward Boulanger during the Prix de Rome competition and at other times is well documented. 34. Rosenstiel, ibid., p. 333. 35. #288, p. 4–5. 36. #288, p. 5. 37. #124, p. 30. Given Saint-Saëns’s distaste for the music of Stravinsky this comparison may be difficult for some; however, Koechlin was not speaking in terms of musical style. He said, “For Stravinsky, music is not to be used to express things. And indeed, it is with a certain joyful surprise that we see in the late [deceased, not later period of] Camille Saint-Saëns a kind of precursor to the present Stravinsky, in his seeking an abstract perfection of Form.” 38. For more details see Scott Messing’s Neoclassicism in Music from the Genesis of that Concept through the Schoenberg/Stravinsky Polemic, 1996. 39. Ravel Remembered, ed. Roger Nichols, p. 103. 40. Ibid., p. 105–6. 41. Messing, op. cit., p. 182; Maurice Ravel by Roland-Manuel, p. 81; and Music of the Twentieth Century: Style and Structure by Bryan Simms, p. 203. 42. Messing, op. cit., p. 31. 43. See Debussy’s Hommage a Haydn (1910) in the tempo of a “slow waltz” and Ravel’s Menuet sur le nom d’Haydn (1909). 44. This quote originally from Paul Landormy’s “Arthur Honegger” in Musical Times, Sept. 1929, p. 789, is reproduced in Geoffrey Spatt’s The Music of Arthur Honegger, 1987, p. 265. 45. Spatt, op. cit., p. 192. The author also offers a detailed diagram of the concerto. 46. Quoted in Keith Daniel’s Francis Poulenc: His Artistic Development and Musical Style, 1980, p. 111. 47. Ibid., p. 58.

1 Selected General Sources

1. 150 ans de musique française: 1789–1939. Lyon, 1991. (Actes Sud Biennale de la Musique Française.) 222 p. ML 270.1.A15.This is a collection of essays resulting from a conference held in Lyon to explore and analyze French contributions to music from the Revolution up to the decades following World War I. While essays are written by French, British, American, and German scholars, they appear only in French. The colloquium was originally organized into four sections: Le temps des revolutions; La renaissance de l’école française; Autour de 1900; and Aspects du XXe siècle. From these categories the following articles emerged: “Aux sources de XIXe siècle,” “Grétry et l’opéra-comique,” “A la redécouverte de l’opéra de D.F.E. Auber,” “Boëly, Onslow, Alkan et la musique instrumentale française du Premier au Second Empire,” “Berlioz retrouvé,” “Gounod, Bizet et quelques autres,” “L’oeuvre de Saint-Saëns, éclats et ombres de la célébrité,” “Franck et l’école franckiste,” “L’orgue symphonique,” “Chabrier,” “Rodrigue et Chimène, et le patrimoine musical français des années 1890 a 1920,” “La musique française au début du XXe siècle,” “Notes sur les spectacles musicaux aux arènes de Béziers, 1890–1910,” “La mélodie avec accompagnement d’orchestre en France,” “Compositeurs de l’entre-deuxguerres,” “Souvenirs et reflexions sur la mélodie française avec instruments,” “Opéra bouffe et opérette,” and “Le patrimoine discographique.” 2. Bailbé, Joseph-Marc. “Le sacré dans l’art lyrique (autour de l’opéra français du XIXe siècle). In Littérature et opéra, ed. Philippe Berthier and Kurt Ringger, pp. 117–27. Grenoble: Presses Universitaires de Grenoble, 1987. ISBN 2706102772. ML 1700.The author identifies three main points which he uses to evaluate operas composed on a sacred subject: the choice of subject and its originality; the nature of the society and the public during that time in history; and the positive or negative conceptions of the composer and librettist. Bailbé proceeds briefly to examine various operas including Méhul’s Joseph, Rossini’s Moïse, and Meyerbeer’s Robert le diable and Les huguenots. At the conclusion of the article he turns his attentions to Berlioz’s Damnation de Faust and Saint-Saëns’s Samson et Dalila. Remarking that from Méhul to Saint-Saëns the “distance is great” and that “the reflection on opera and its problems progressed a great deal,” the author recounts Saint-Saëns’s struggle to move from oratorio to opera, and says that in Samson he actually mixes the two genres somewhat with varying degrees of success. 3. Barzun, Jacques. Berlioz and the Romantic Century. New York: Columbia University Press, 1969. 2 v. 458 p. ISBN 23103135. ML 410.B5B2.Arguably the first modern,

18 CAMILLE SAINT-SAËNS

ground-breaking study on Berlioz and his period of activity, this important contribution to nineteenth-century studies proceeds chronologically through the composer’s career but with the twist of grouping discussions of works and biography by a type of national association. For instance, the first section, labeled “France,” addresses his early biography, and the Symphonie fantastique; the second section, “Italy,” includes a discussion of Harold in Italy, and Benvenuto Cellini; the third section, “Germany,” investigates the form and philosophy of The Damnation of Faust; and a final grouping, in volume 2, entitled “England, Germany and Russia,” examines The Enfant Christ and The Trojans, among other things. Between these larger divisions, the author includes what he labels “inter chapters” which consist of valuable discussions pertaining to program music, the Romantic century, and Berlioz’s memoirs. Supplements in volume 2 include examinations of the then present state of Berlioz research, problems in Boschot’s biography of the composer, and Berlioz’s “after fame.” In addition to the standard bibliography and index of names and subjects, the author includes a listing of Berlioz’s domiciles, and addresses errors in the complete edition of his scores. 4. Brody, Elaine. Paris: The Musical Kaleidoscope 1870–1925. New York: George Braziller, 1987. 359 p. ISBN 080761176X. ML 270.8 P2 B93.This is a collection of essays ranging in topic from the death of Berlioz and the birth of the Société Nationale, through Stravinsky and the Russians in Paris. The author offers a wide variety of essays. There is one on popular culture, “Café-Concerts, Cabarets, and Music Hall,” one on “Art and Music,” featuring discussions of Fantin-Latour, Manet, and Picasso, while others address the Wagner craze in France, and the invasion of Orientalism. There is also a chapter entitled “Music and Literature” which examines Baudelaire on Wagner, and references Saint-Saëns and Fauré, Lalo, and Chabrier. The discussion ranges from Massenet to Poulenc and includes Symbolist poets, along with André Gide and Proust. The final chapter is entitled “Masterpieces of French Music 1870–1925 “and is an annotated list of composers and their representative works. Although not musically sophisticated, this is a monograph which would be of interest to the musician and amateur alike. 5. Brook, Donald. Five Great French Composers. London: Rockliff, 1946. 216 p. ML780. 9 B871F.This book is a basic introduction to the music and biographies of Berlioz, César Franck, Debussy, Ravel, and Saint-Saëns. By the author’s own admission the purpose of the book is to “provide a set of compact biographies of the five greatest figures in French music.” He blames the brevity on the shortage of paper following the war. Nevertheless, the chapter on Saint-Saëns depends upon previous monographs including the Musical Memories, Harmonie et Mélodies, and earlier biographic accounts. After a discussion of the composer’s career and biography the author examines various compositions. These are Samson et Dalila, Le timbre d’argent, Étienne Marcel, Henri VII, Proserpine, Ascanio, Phryné, Les barbares, Hélène, L’ancêtre, Le rouet d’Omphale, Phaëton, Danse macabre, La jeunesse d’Hercule, the Symphony in C minor, the piano concertos 2, 4, and 5, the Violin Concerto no. 3, and the Cello Concerto in A minor. These analyses are superficial. The discussions of the operas really are nothing more than the retelling of the plot, the symphonic poems are examined no further than their stories, and the discussions of the instrumental music are confined only to general statements without any real analysis. 6. Coeuroy, A. La musique française moderne. Paris: Delagrave, 1922. 154 p. ML 390.C67.This monograph is divided into sections according to composer. They

SELECTED GENERAL SOURCES 19

include Fauré, Ravel, Dukas, Florent Schmitt, Albert Roussel, d’Indy, Duparc, Guy Ropartz, Paul Le Flem, Paul Dupin, Henri Rabaud, Honegger, Milhaud, and Satie. In a book written a year after his death, Saint-Saëns receives no mention; however, it is strange that composers who are totally forgotten today are given prominence. It shows that by the time of his death Saint-Saëns was not viewed as “modern.” 7. Cohen, H.Robert, ed. Les gravures musicale dans “L’Illustration” 1843– 1899. Quebec: Presses de l’Université Laval, 1982.1162 p. ISBN 276376833 4. ML 270. 4.G7.The first two volumes of this three-volume set contain engravings pertaining to a wide variety of musical subjects (composers, mise en scène, instruments, costumes, theaters, etc.) found in the journal L’Illustration. The third volume is the index of the first two, arranged alphabetically, with a detailed subdivision of these general entries. For example, of the several entries for Saint-Saëns, there are two portraits, and mise en scène for many of his stage works including Étienne Marcel, Henry VIII, Samson, and Timbre d’argent. For Déjanire there is an engraving of the décors, the opera house where it played, and a mise en scène. The introductory notes which explain the organization and arrangement of the three volumes are in both French and English. 8. Cooper, Jeffrey Hawley. “A Renaissance in the Nineteenth Century: The Rise of French Instrumental Music and Parisian Concert Societies, 1828–1871.” Ph.D. dissertation, Cornell University, 1981. 566 p. ML 270.4.See #9 below for a discussion of his monograph on the same subject, a revised version of this dissertation. 9. Cooper, Jeffrey Hawley. The Rise of Instrumental Music and Concert Series in Paris, 1828–1871. Ann Arbor: UMI Research Press, 1983. 387 p. ISBN 0835714039. ML 497.8 PCC6.This is a revised version of the dissertation mentioned above (#8). The most notable alterations include changes in arrangement of material, and how various chapters have been reorganized to reflect a chronological approach to the subject. The author indicates that this monograph is only a survey because of the large period of time it spans, and the amount of music-making it covers. This book addresses musical life in Paris, the concert series, the halls, the seasons, and the various performing societies. In addition, Cooper discusses the specific repertory, and includes chapters on instrumental music in general during the period. Details regarding Parisian concert series and provincial concerts comprise the two appendices. It is a very welcome addition to the study of nineteenth-century French instrumental music during a century dominated by opera. 10. Cooper, Martin. French Music from the Death of Berlioz to the Death of Fauré. Revised edition. London: Oxford University Press, 1969. 239 p. ISBN 0193162024. ML 270.4.C7.The early chapters document the interconnectedness of Gounod, Franck, and Saint-Saëns, and place them in relationship to other popular (if lesserknown) composers of the time. This monograph also attests to their importance as musical luminaries during the twilight of the Romantic period, and points to their many contributions and influence upon succeeding generations of French composers. Concentrating a great deal upon Fauré and Debussy, with excursions into the music of Ravel, Satie, Les Six, and Roussel, this book chronicles the great variety of French composers and movements, including the Schola Cantorum of Charles Bordes. A “Table of Events” is found at the conclusion of the study with important dates for births, deaths, musical events, and landmarks in the sister arts of literature and painting.

20 CAMILLE SAINT-SAËNS

11. Dandelot, Arthur. La Société des Concerts du Conservatoire de 1828 a 1897: Les grands concerts symphoniques de Paris. Paris: G.Havard fils, 1898.221 p. ML 270. 8.P2.D18.This valuable work is divided into three main sections: concerts prior to 1828, including the foundation of the Société des Concerts, along with biography of Habeneck; a second section on the predecessors of Habeneck including Girard, Tilmant, Hainl, Deldevez, Garcin, and Taffanel; and the third section which mentions symphonic concerts from 1828 up to 1897. For the pre-1828 concerts Dandelot organizes the material chronologically, and indicates what was played in each concert up to 1828. He also offers the articles of organization for the Société des Concerts. In the second and third chapters he continues his chronological arrangement of concerts, and offers biographical information on the successors of Habeneck, as well as the committee members of the society, photographs of these men, and the various concert halls where the society performed. Important appendices include the names and roles of the committee members, and the names of the orchestra and chorus members. There is also an index of names cited throughout the work at the conclusion. 12. De Van, Gilles. “Fin de Siècle Exoticism and the Meaning of the Far Away.” Trans. William Ashbrook. Opera Quarterly 11 (1995): 77–94.This article was presented at the Second International Congress, Letteratura, musica e teatro al tempo di Ruggero Leoncavallo in 1993. The author identifies and defines what creates “exoticism” in nineteenth-century opera, and explores the “function of exoticism on the lyric stage by drawing evidence chiefly from opera librettos written between 1860 and 1920.” He discusses the public’s demand for visual verisimilitude, and how the more metaphoric texts would often lead to various clichés. Themes of sexual tensions and escapism are also addressed. The problems of exoticism are threefold: it requires a strong emphasis on spectacle, the moving of the action to a distant period or place, and the wish on the part of the composer to “move their audiences by subjects which involve the public and its sentimental views.” De Van also mentions three phenomena which raised critical questions concerning historical realism and exoticism in opera at the end of the nineteenth century; namely, Wagner’s attacks against historical subjects, the rise of the Symbolist, and the Naturalist movement. The author mentions several works of Saint-Saëns, including La princesse jaune, Samson et Dalila, Henry VIII, Déjanire, Étienne Marcel, and Les barbares. In closing, De Van indicates that “exoticism cannot be assimilated into one simple, self-contained category.” 13. Dietrich, Charles. “Les operas parfumés: Aspects of Orientalism in NineteenthCentury French Opera.” Theatre Research International 22 (1997): 111–19.The author examines the “Oriental” elements of eight French operas: Les Troyens (Berlioz), Les pêcheurs de perles (Bizet), L’Africaine (Meyerbeer), Carmen (Bizet), Samson et Dalila (Saint-Saëns), Lakmé (Delibes), Esclarmonde and Thaïs (both by Massenet). His examination of these works is unfortunately superficial and he relies upon the writings of Edward Said and Elaine Brody. Interestingly some of his ideas may remind the reader of Ralph Locke’s writing on the Oriental “other” in opera (1991), although Dietrich does not mention this work. He discusses the Oriental associations of time and place of the opera, the libretti (briefly), and the role of woman as a symbol of the Orient and sexual freedom. His discussion of the music is very limited and misleading. He fails to notice and identify the actual Eastern rhythms

SELECTED GENERAL SOURCES 21

and melodic fragments found in Saint-Saëns’s Samson et Dalila which have been well documented by Myriam Ladjili (#32) mentioned below. 14. Dumesnil, René. La musique en France entres les deux guerres 1919–1939. Paris: Éditions du Milieu du Monde, 1946. 304 p. ML 270.5.D83.This monograph concentrates upon the music of composers such as Ravel, Stravinsky, Les Six, and other prominent composers of the period between the world wars. Chapters are also devoted to the general musical life, and the schools of Wagner and Franck. SaintSaëns is relegated to only four pages scattered throughout the monograph, and his death is not even mentioned in the concluding chronological table. The author dwells upon the more avantgarde styles of the early twentieth century and dismisses the final years of Saint-Saëns’s life as being relatively unimportant. The author’s account of the “new generation,” including Les Six, Georges Auric, and female composers such as Marguerite Canal and Jeanne Leleu, is quite helpful, although he basically ignores Lili and Nadia Boulanger. While this monograph is an uneven account of music during the period in question, it nevertheless remains a useful contribution. 15. Dumesnil, René. La musique contemporaine en France. 2 v. Paris: A.Colin, 1949. 205, 216 p. ML 270.5.D619. The first volume of this study is devoted entirely to the Renouveau symphonique, which includes not only symphonic music per se, but discussions of organ music and the renewal of sacred music; foreign influences on French music, especially Wagner, exoticism, and jazz; the Impressionist, Realist, and Neoclassical movements; and the contributions of the Schola Cantorum. The second volume completes the survey of the symphonic renewal, then is given over to a discussion of dramatic music from Carmen to Mélisande, and Ariane et Barbe-Bleue to Penelope. Dumesnil includes in this volume a series of brief biographies and contributions of early twentieth-century composers including Ravel, Roussel, Milhaud, Auric, Poulenc, Ibert, and others. Saint-Saëns is discussed in the first volume in regard to the Société Nationale and his symphonic works as well as his contribution to sacred music. In the second volume Dumesnil mentions Saint-Saëns’s operatic oeuvre (along with Massenet’s) as being traditional, and believes that some of his greatest strengths are also some of his greatest weaknesses. 16. Eigeldinger, Jean-Jacques, et al. La musique en France a l’époque romantique (1830– 1870). Paris: Flammarion, 1991. 348 p. ISBN 208066305. ML 270.4.M87.This collection of essays examines the most important elements and trends in French music during the nineteenth century. Nicole Wilde offers a chapter on spectacle in grand opera, Malou Haine writes on instrument makers during this time, and Paul Gerbod contributes an essay on the orphéonistes. There are articles on the piano and its literature during this time along with a discussion of famous pianists (Anne Rousselin-Lacombe), an investigation of chamber music societies and their repertoire (Joël-Marie Fauquet), and an offering on violin technique, methods, and repertory (Anne Penesco). The important role of the periodic press is addressed and examined in two articles, one by H. Robert Cohen and another by Joseph-Marc Bailbé. All articles are in French, each with its own valuable bibliography. Two indices follow: one of names cited throughout the essays, and another of specific compositions mentioned. 17. Ellis, Katherine. Music Criticism in Nineteenth-Century France: “La Revue et Gazette Musicale de Paris” 1834–80. Cambridge: Cambridge University Press, 1995. 301 p. ISBN 021454433. ML 270.4.E55M8.According to the author herself, “This book is a history of musical culture in nineteenth-century Paris as revealed by some of its most

22 CAMILLE SAINT-SAËNS

prominent music critics.” She continues to say that the study has three interrelated aspects: “a study of music criticism, a reception history of more regularly performed composers, and a study of the philosophical ideas which permeated musical thought.” Pertinent topics which receive treatment are specialty periodicals; early music (along with performance practices and editions); Austro-German music and its reception; and various genres of contemporary music (opera, piano music, chamber and symphonic music, and the music of the future). Berlioz receives a chapter himself. Helpful appendices include a list of various contributors to the journal, an identification of pseudonyms, and brief biographies of various people (who throughout the text appear in bold print). Especially useful is not only the index of names cited in the text, but particularly the list of works cited and mentioned in reviews in the text. This monograph is a most welcomed and extremely valuable contribution to the study of the role and importance of the French periodic press. 18. Fauquet, Joël-Marie. Les sociétés de musique de chambre a Paris de la restauration a 1870. Paris: Aux Amateurs de Livres, 1986. 484 p. ISBN 2905053259. ML 1127.F38.This monograph is a well-documented chronicle of the chamber music traditions in France prior to the Franco-Prussian War. The author discusses the various performing organizations, individual players, repertory, and other details of the chamber music scene. During a time dominated by the operatic stage, the genre of chamber music in all its diverse forms was growing and flourishing, and this book capably fills a lacuna to offer a more complete and accurate understanding of French musical styles, forms, and practices in the nineteenth century. Approximately onehalf of the book consists of appendices which list the members of various performing groups throughout their years of existence; the programs of the Baillot quartet and quintet (from 1814 to 1836); statistics of pieces played by Baillot’s groups; and various programs for other chamber music ensembles discussed in the study. 19. Fauquet, Jöel-Marie. “Chamber Music in France from Luigi Cherubini to Claude Debussy.” Trans. Stephen E. Hefling and Patricia Marley. In Nineteenth-Century Chamber Music, ed. by Stephen E.Hefling, p. 287–314. New York: Schirmer Books, 1998. 389 p. ISBN 0028710347. ML 1104.N56.Chapter 7 offers a succinct glimpse into the performers, the style characteristics, and the various permutations of chamber music in France during the nineteenth century. The author proceeds with his investigation by genre, discussing piano trios, string quartets (composed by both string players and pianists), piano quintets, violin sonatas, and piano quintets and quartets after 1870. Fauquet identifies operatic influences in the early French string quartet, and he observes that prior to 1870 chamber compositions were primarily driven by either melody, or polyphony. The author gives special attention to the works of Cherubini and Onslow. He mentions many lesser-known composers from the period and highlights many of their unique contributions to chamber music, such as Reber’s two-movement op. 5 string quartet (the Andante of which is based upon a popular song, Vergiss mein nicht), and d’Ortigue’s sixth quartet (which in a collage procedure introduces a tune from Arbeau’s Orchésographie and a popular French song). The post-1870 period was strongly influenced by Franck’s chamber music. Various works by Fauré, Lalo, Chausson, and Saint-Saëns are discussed with concentration upon formal techniques, and unique aspects of each. The chapter is well documented with footnotes, and includes a somewhat limited biography. 20. Fauré, Michel. Musique et société du Second Empire aux années vingt autour de Saint-Saëns, Fauré, Debussy et Ravel. Paris: Flammarion, 1985. 424 p. ISBN

SELECTED GENERAL SOURCES 23

2080646508. ML 270.1.F380.The author examines the music and world surrounding Saint-Saëns, Fauré, Ravel, and Debussy. He considers the pressure of society on the personality of the creators, on their works, and on their language, noting that SaintSaëns, Fauré, Debussy, and Ravel “would not have become the artists that we know without the intervention, at the dawn of their career and before, of the ambition of their ancestors, taking the place of their own desire of social promotion.” Furthermore, Fauré believes that “the homosexuality of Saint-Saëns, or the impotence of Ravel, the donjuanism of Fauré, and the nervous mystico-sociale of Debussy are tributaries of the social air that they breathed.” Their music, therefore, reflects the mentality of their company, and are the products of their ideologies: their “secret agents” according to the author. Fauré asserts that Saint-Saëns may never have composed Henry VIII if the “bourgeoisie did not need to reduce the strength of the church, to ruin the sexual morale of yesteryear.” The author divides his monograph into three books. The first is entitled “La société et les compositeurs,” which addresses artistic careers, the interior personalities of the composers in question and their aesthetics and ideologies. It is in this section that the author asserts that both Saint-Saëns and Ravel were homosexual, with no real irrefutable evidence. The second book is “La société et les oeuvres musicales” which is tied strongly to the bourgeoisie and its tastes. Here Fauré examines various specific compositions, including Saint-Saëns’s Henry VIII, Le feu céleste, Samson, and Les barbares, among others. The final book is entitled “La société et le language musical.” Here the author discusses the influence of non-Western music (Islamic and Oriental music) upon the Western art form. He also examines the impact of the music of Bach, Mozart, Rameau, and Couperin upon these four composers, as well as dance music and musical forms of the eighteenth century. This monograph is an extremely important contribution to the field of nineteenth-century French music history, and represents a valuable approach to the study of musicology in general. 21. Favre, Georges. “Camille Saint-Saëns et la principauté de Monaco.” In Études musicales monégasques. Paris: Éditions A. et J.Picard, 1976. 186 p. ISBN 2708400134. ML 325.M6.This lengthy chapter addresses the renaissance of artistic activity in Monaco following the Franco-Prussian War and Saint-Saëns’s important role in it. It is subdivided into sections which present various correspondence between the composer and Prince Albert I from 1900 until Saint-Saëns’s death in 1921. These letters, written in a cordial and warm style, pertain to the premiere of Hélène (1903), L’ancêtre and performances of Déjanire and La foi. The letters to Prince Albert I from 1912 until 1921 do not concern premieres, or commissions, but are rather more general and discuss topics such as Fauré’s Penelope, Samson et Dalila, and the organ of the new cathedral of Monaco. It is clear that Saint-Saëns was a favorite of the prince, and that his music was well received by the public. Many of these letters were published in the Journal de Monaco which, according to the citations of this chapter, also quite often contained reviews of Saint-Saëns’s music. The chapter concludes with a lengthy quote from an article in the Journal de Monaco written not long after the composer’s death which praises simultaneously his music and his “immense artistry.” 22. Finscher, Ludwig. “The Old in the New.” In Canto d’amore, trans. Christopher Hailey, p. 63–73. Basel: Paul Sacher Stiftung, 1996. ISBN 1858940354. NX454. 5M63.The author discusses the revival of the classical style in music at the beginning of the twentieth century, including the neoclassical style associated with the German

24 CAMILLE SAINT-SAËNS

school, and the nouveau classique style of French composers such as Saint-Saëns. According to Finscher this nouveau classicisme was developed in conjunction with the rediscovery of the French Baroque period facilitated by Saint-Saëns’s critical edition of the works of Jean-Philippe Rameau. To support this opinion the author offers Saint-Saëns’s sonatas for oboe, clarinet, and bassoon composed at the end of his life as evidence. He also points to early works of other French composers including Debussy, Ravel, and Fauré as examples of this trend. This was not an isolated movement in musical style, but rather all points to what Finscher believes is the “emergence of genuine neoclassicism with Stravinsky as a prime example of the interaction between collective tendencies and fashions and the decisions of a single composer.” It was this “collective” trend for which Stravinsky became the spokesman, being influenced not only by the French harbingers, but by Germans and Russians as well. 23. Flynn, Timothy Scott. “A Study in Criticism and Historiography: Sacred Music Journals in France 1848 to 1870.” Ph.D. dissertation, Northwestern University, 1997. 535 p.A critical study of the five sacred music journals which appeared during the Second Republic and Empire, this dissertation investigates the various aesthetics of sacred music as defined by and promoted in these periodicals. Emphasis is also given to the emergence of the French interest in, and contribution to the discipline of musicology. Important articles and essays are examined and discussed in detail. 24. Fulcher, Jane Fair. French Cultural Politics and Music from the Dreyfus Affair to the First World War. Oxford: Oxford University Press, 1999. 285 p. ISBN 0195120213. ML 270.5.F85.In many ways a ground-breaking study, this monograph examines the ways in which politics “invaded” the arts, specifically music, and how various composers reacted. Divided into two large sections, the first investigates how music was “pulled into the cultural war” begun by various nationalist leagues. The author specifically examines d’Indy and his Schola Cantorum as well as Bruneau and Charpentier. The second section “concerns the escalation and further ramifications” prior to World War I. Here the author shows both Debussy and Satie as central figures who, though politically active, sought to “confound” those who would “impute a factional position” on them on the basis of their musical style. Other important and fascinating elements of this monograph include the misinterpretation of Charpentier’s Louise and how, according to Fulcher, “we must attempt to excavate the systems of meaning in which specific works were both conceived by composer and then understood by audiences of that time.” 25. Gérard, Yves. “Saint-Saëns et l’Opéra de Monte-Carlo.” In L’Opéra de Monte-Carlo au temps du Prince Albert ler de Monaco. Paris: Dossiers du Musée d’Orsay, 1990. 72 p. ISBN 2711823210. ML 141.P18.This article examines Saint-Saëns’s connection with the musical scene in Monte Carlo, which began in 1881 when he conducted La jeunesse d’Hercule and played his Piano Concerto no. 4 accompanied by the Orchestre du Casino. Gérard quotes from many letters to Raoul Gunsbourg, Charles Lecocq, and Durand which document important performances of operas premiered in Monte Carlo, including Hélène, L’ancêtre, and Déjanire as well as the play La foi which contains music by Saint-Saëns. Many of the letters quoted offer interesting and revealing insights into the history surrounding the rehearsals and premieres of these works. The author also documents Saint-Saëns’s relationship with the royal family which lasted until his death in 1921.

SELECTED GENERAL SOURCES 25

26. Goubault, Christian. La critique musicale dans la presse française de 1870 a 1914. Geneva and Paris: Éditions Slatkine, 1984. 535 p. ISBN 2051005427. ML 3880.G68.This monograph was originally the author’s dissertation for the Doctor of Letters from the Sorbonne in 1982, written under the guidance of such distinguished scholars as Joseph-Marc Bailbé, Danièle Pistone, and Serge Gut. It is divided into two main sections. The first section deals with musical criticism and individual critics (Debussy, Dukas, Rolland, etc.), as well as a general description of the periodic press during the time in question. In the third chapter, the author investigates the responsibility of the critic and looks for individual criteria and methodology. The second section of this monograph is dedicated to the music itself and presents a reception history of various composers such as Wagner, Franck, Debussy, Fauré, Ravel, and foreign schools (including Russia, England, and Italy). Portions of chapter 6—”Aspects du renouveau de la musique française”—contain a limited discussion of the music of Saint-Saëns, while concentrating upon the larger picture of music criticism during the fin de siècle. 27. Gut, Serge, and Daniele Pistone. La musique de chambre en France de 1870 à 1918. Paris: Honoré Campion, 1985. 239 p. ISBN 852030489. ML 1127.G87.The first portion of this study is a discussion of the general background of the social and political life in France during the period in question. Included in this section is important information pertaining to the role of chamber music in the musical scene, concert life, and perhaps most insightful, the musical currents and styles of the period. Here the authors assert that the two main forces of musical style were represented by Franck and his followers (such as d’Indy and Chausson), and SaintSaëns and his followers (such as Fauré and Ravel). The only musical figure who stood alone as independent was Debussy. The second part of this monograph examines individual composers and their chamber music. For each composer a brief biography is offered (especially helpful for those lesser-known figures such as Castillon, Ropartz, and Koechlin), a description of their musical characteristics, and finally a discussion of selected compositions. 28. Hervey, Arthur. French Music in the XlXth Century. London: Grand Richards, 1903. 270 p. ML 270.4. This monograph is an examination of the best-known French composers of the nineteenth century beginning with Méhul and the “last of the classics “and including Rossini, Meyerbeer, Auber, Berlioz, Gounod, Offenbach, Bizet, Saint-Saëns, Massenet, Franck, and Alfred Bruneau. The author also offers discussions of Wagner’s influence in France, modern French opera, and music at the end of the century. It shows the rich tapestry of French music in this diverse century. Hervey offers some insights into the music of Saint-Saëns, and while admittedly not a biography the author rather “merely endeavors to give an idea of Saint-Saëns’s position in connection with the music of his country.” To this end, Hervey concentrates primarily upon his orchestral music (the symphonies and symphonic music) and the operas. The author praises Saint-Saëns for his eclecticism and versatility, and while not possessing the “rugged power” of Berlioz, the “emotional feeling” of Gounod, the mystic fervor of Franck, or the charm of Massenet, he does possess an “extraordinary faculty for assimilation.” Hervey believes that SaintSaëns’s music demonstrates that “alien influences are beneficial to a composer and do not prevent him from remaining essentially national in his style.” This he proves by noting Saint-Saëns’s affinity with Bach, Mozart, and Beethoven while still being French, owing in part to his musical wit and the quality which “has enabled him to

26 CAMILLE SAINT-SAËNS

attack the driest forms of the art and render them bearable.” Hervey asserts that the composer’s admiration for Liszt inspired him to write symphonic poems, and that Saint-Saëns “did not follow recognized models” of formal design. Passing lightly over chamber music, Hervey next concentrates upon the dramatic works, citing Samson et Dalila as his most enduring and famous example. He attributes the composer’s “spirit of eclecticism” as being responsible for “certain weaknesses in the composer’s dramatic methods.” Hervey concludes his discussion of Saint-Saëns by mentioning selected literary collections of the composer. He then moves on to a brief discussion of the music of Lalo, Fauré, Dubois, and Godard. 29. Holoman, D.Kern, ed. The Nineteenth-Century Symphony. New York: Schirmer, 1997. 451 p. ISBN 002871105X. ML 1255.N5.This book is a collection of essays by various contributors on the symphonic music and musical styles of selected composers including Schubert, Weber, Spohr, Schumann, Mendelssohn, Berlioz, Liszt, Bruckner, Brahms, Dvorák, Tchaikovsky, Elgar, Richard Strauss, Mahler, and Sibelius. The French symphonic tradition of the era is treated in one chapter and includes an examination of the music of David, Gounod, Bizet, Saint-Saëns, Franck, and other composers such as Lalo and Dukas. In this chapter the author, Ralph Locke, discusses the re-establishment of the symphony in France, the “descriptive” symphony of David, and the examples of Gounod, Bizet, and Saint-Saëns. Locke identifies various characteristics of what he describes as the “Parisian manner” of symphonies composed at mid-century. These include works that are “engaging, colorful, characterful, though the question of national style is greatly complicated” because these works are modeled upon non-French examples. In general a fine appreciation of Saint-Saëns’s symphonies, the author, however, does not discuss the symphonic poems. While offering analyses of various works (especially SaintSaëns’s “Organ” Symphony, and Frank’s D minor Symphony, and d’Indy’s “Mountain” Symphony), the author also discusses important organizations such as the Société Nationale which provided an impetus for symphonic composition. Locke also includes in his discussion an examination of the various performance opportunities and concert venues for the French symphonic repertory during this era. 30. Huebner, Steven. French Opera at the Fin de Siècle. Oxford: Oxford University Press, 1999. 526 p. ISBN 0188162804. ML 1727.4.H84F4.This is an examination of French opera during the late nineteenth century when Wagner’s musical influence was at its height. The author investigates specific composers and selected works in relation to what he calls the spectre wagnérien. The first part of this study is devoted entirely to Jules Massenet and his more famous operas, while the second part includes discussions of the “ambivalent Wagnerians” and conservatives Reyer, SaintSaëns, Gounod, and Lalo. The third section of the study addresses the Wagnerian renewal as identified in the music of Chabrier, d’Indy, and Chausson, while the fourth and shortest section is devoted to the Realist operas of Alfred Bruneau and Charpentier. A helpful appendix contains plot summaries of the major works discussed and is arranged in alphabetical order. Scrupulously documented, this monograph not only investigates the variety of ways the music of Wagner touched each of these composers, but also examines and reassesses them and their music with keen insight and great authority. 31. d’Indy, Vincent. Richard Wagner et son influence sur l’art musical français. Paris: Delagrave, 1930. 90 p. ML 410.W12F695.In nine chapters, the author not only praises the music of Richard Wagner, but also credits him with being the “savior” of

SELECTED GENERAL SOURCES 27

nineteenth-century music in general. This monograph examines the beneficial influences of Wagner’s music and cites César Franck’s approach to composition visà-vis the Wagnerian style as being exemplary. In general, this monograph is disturbing in its anti-Semitic bent regarding various aspects of nineteenth-century French opera composition as found in chapters such as “Les origines de l’art musical français,” and the final chapter, “Modernisme.” Not surprisingly, d’Indy misses no opportunity to extol the music of his teacher and friend César Franck, especially in the chapter dedicated to Franck and the foundation of the Société Nationale du Musique. Particularly interesting are the chapters dedicated to the “L’opéra français contemporain de l’éclosion wagnérienne,” and “Les innovations wagnériennes dans la langage musical, la technique, et l’écriture.” 32. Ladjili, Myriam. “La musique arabe chez les compositeurs français du XIXe siècle saisis d’exotisme (1844–1914).” International Review of the Aesthetics and Sociology of Music 26 (1995): 3–33.This article identifies and examines the various elements which constitute the Orientalist movement in French music at the end of the nineteenth century, with emphasis upon the works of David, Bizet, Franck, and SaintSaëns. The author takes into account the role of colonial expansion and the gradual opening of the East to Westerners. In addition, Ladjili identifies specific rhythmic motives which are found in authentic Eastern music, such as the dawr, or cyclic rhythm, and its use in Western music which evokes an Oriental flavor. Other elements include melodic ornaments, and particular musical intervals associated with Eastern music. The final section of the article centers upon the music of Saint-Saëns, including Samson et Dalila, where the author points to the use of the îstîftah, an instrumental prelude of flexible rhythm in Arabian music, and the use of the ramal mode transposed to A. This, and similar examples, lead the author to believe that Saint-Saëns was attempting to be extremely authentic in his use of non-Western musical elements. The author also examines the Suite algérienne, Africa, and the Mélodies persanes. 33. Lalo, Pierre. De Rameau a Ravel. Paris: Albin Michel, 1947. 422 p. ML 3. 85.L35.This monograph, subtitled “Portraits et Souvenirs,” was written by the son of composer Edouard Lalo. In the first section of this book are insightful essays on composers such as Rameau, Berlioz, and Gounod as well as more contemporary ones, Debussy, Méssager, Ravel, and Chausson. Lalo offers a discussion of his father, Saint-Saëns, Franck, Bizet, Dukas, and others. In addition to these essays Lalo includes a section entitled “Chroniques et souvenirs” which addresses historical aspects of music such as “Louis XIV et la musique,” “Rousseau et la musique,” and “Racine et musique,” as well as discussions on Wagner’s Parsifal, Fauré’s operas, opinions of Adolphe Adam on music, and opera in France during the nineteenth century. Lalo’s writing is often marked by an independence and objectivity generally characteristic of the writings of Saint-Saëns. 34. Landormy, Paul. La musique française de la Marseillaise a la mort de Berlioz. 4th ed. Paris: Gallimard, 1944. 302 p. ML 270.4.L267 v. 1.This study begins with brief discussions of French musical style during the Revolution and the Napoleonic Empire, but the main thrust is the period 1830 to 1850. While concentrating primarily upon dramatic works, Landormy also dedicates a chapter to the Symphonie fantastique (which includes an analysis of the work movement by movement), one to Liszt and Marie d’Agoult, and another to Wagner’s time in Paris 1859–61. The study is arranged chronologically according to the dates of the compositions discussed, and

28 CAMILLE SAINT-SAËNS

in addition to the examination of works from the canon, Landormy deals with repertory that no longer enjoys regular performance, such as Le pardon de Ploërmel, Massé’s Les noces de Jeannette, Zampa, and Le chalet. The author at times quotes freely from other sources, some of which appear to be primary, but unfortunately he never offers any citations. 35. Landormy, Paul. La musique française de Franck a Debussy. 17th ed. Paris: Gallimard, 1943. 241 p. ML 270.5.L32M8 v. 2.This volume is divided into seven chapters. The first examines the founding of the Société Nationale by Saint-Saëns and Bussine, and briefly examines selected music of Saint-Saëns and Lalo, whom the author believes to be quintessentially French composers. The second chapter is a discussion of various individual composers who were popular during this time, such as Franck, Duparc, Chabrier, d’Indy, Chausson, Bordes, and Dukas, in addition to several lesser-known composers (Castillon, Bréville, Ropartz, Serres, Rousseau, and Magnard). The third chapter is on Charles Bordes’s Schola Cantorum, and the fourth chapter deals with theatrical music after Gounod. Again, Landormy organizes his discussion by composer, including Gounod, Reyer, Delibes, Bizet, Guiraud, Massenet, Paladilhe, Godard, Charpentier, and Bruneau among others. The fifth chapter is devoted to Charles-Marie Widor, Dubois and organists, while Fauré and Debussy receive individual chapters. Landormy, a friend of Saint-Saëns since 1892, speaks highly of the composer and acknowledges his influential role in the creation of modern French music. However, his discussion of the composer is limited to his association with the Société Nationale, and an analysis of what Landormy believes to be “his most significant work,” the Third Symphony. The author describes SaintSaëns as a “musician, painter, poet, philosopher, encyclopedic genius a little like Voltaire, writing music a little like Descartes, clearly pleasing, logically organized, strongly conceived, functionally classic.” 36. Landormy, Paul. La musique française après Debussy. 20th ed. Paris: Gallimard, 1948. 299 p. ML 270.5.L32M8 v. 3. This monograph is primarily a study of French music from the death of Debussy and the final years of Fauré, d’Indy, and Dukas. Landormy examines Jean Cocteau and the music of Les Six, noting the influence of composers such as Satie, Stravinsky, Roussel, and Ravel upon them. At the conclusion of the volume the author includes a double chapter entitled “Regards en arrière” in which he “looks backward” to the music of Saint-Saëns and others. These composers he believes without a doubt laid the foundation for the jeune école. His discussion of Saint-Saëns is brief, including selected elements of his biography, the composer’s views on Wagner, and a description of Saint-Saëns’s style. Landormy praises La lyre et la harpe, Henry VIII, Ascanio, the Fifth Piano Concerto, and the F major Piano Trio as works full of “charm,” “great seduction,” and musically satisfying. The author also notes Saint-Saëns’s influence upon Ravel. 37. Lehrer, Charles David. “The Nineteenth-Century Parisian Concerto.” Ph.D. dissertation, University of California, Los Angeles, 1990. 634 p.An extremely detailed analysis of approximately 90 concerti for various instruments from the period spanning 1799 through 1900, this dissertation offers unique insights into the variety of musical forms used by composers for the solo concerto. The author has devised some new terminology to facilitate his analysis of the various trends in formal design, such as the scena style, which obviously borrows from the dramatic, operatic style of the period. Lehrer also employs his own version of Jan La Rue’s analytical system as found in Guidelines for Style Analysis (1970). The copious

SELECTED GENERAL SOURCES 29

charts and diagrams are of monumental help to the reader who does not have access to the scores of the many lesser-known composers whose music is discussed. SaintSaëns’s concerti are examined in the sixth chapter, “The Parisian Concerto during the Early Years of the Third Republic: 1870–1900.” This time frame is somewhat misleading, for the author discusses op. 58, violin concerto of 1858, and the second piano concerto of 1858, before examining the works of the period in question. This dissertation is a most admirable synthesis and scrupulous survey of a great amount of material, shedding light on a heretofore unexplored area of research. 38. Lindenberger, Herbert. “Opera/Orientalism/Otherness.” In Opera History from Monteverdi to Cage, p. 160–90. Stanford: Stanford University Press, 1998. ISBN 0804731047. ML 1700.L54.In this chapter, the author deals primarily with aspects of Verdi’s Aïda and Saint-Saëns’s Samson et Dalila, along with “Orientalist” operas by Gluck, Mozart, Bizet, Délibes, and Glass. The author examines the basic musical elements of these works which lend an Oriental or exotic character to the libretto, plot, and music, citing contemporary views, opinions, and developments, such as Napoleon’s conquest of Egypt and the subsequent Western understanding of Eastern elements. Lindenberger relies upon some of the pioneering work done by Edward Said and Hans Busch in presenting this interesting and insightful appreciation of the Western European interpretation of non-Western culture and art in opera of the nineteenth and twentieth centuries. 39. Locke, Ralph. “Reflections on Orientalism in Opera and Musical Theatre.” Opera Quarterly 10 (1993–94): 49–64.Locke discusses how composers portray Oriental scenes in opera, and what ideological messages such portrayals convey to the audience. He examines basic plot archetypes which use Oriental subjects and shows how they are developed. The author concentrates his attention upon Aïda, Turandot, and The King and I. In this article Locke also discusses the role of plot, archetypal female portrayals, religious ritual, war, and details of musical style in creating dramatic tension. Simultaneously he examines a given work’s “Westernness” in contrast to the attempt at reflecting (and perhaps shaping) Western thought toward the non-Western world. 40. Myers, Rollo. Modern French Music: Its Evolution and Cultural Background from 1900 to the Present Day. Oxford: Basil Blackwell, 1971. 210 p. ISBN 0631130209. ML 270.5.M9M6.In his discussion of twentieth-century French music, Myers identifies two “major breakthroughs” after the death of Beethoven which contributed to trends in modern music: one was brought about by Berlioz and the other by Wagner. A subscriber to the idea of musical “evolution,” the author believes that an examination of how the “resistance to new ideas and new techniques was gradually overcome” defines the “story of the evolution of music during the first six decades of the twentieth century.” This monograph is in general a“sketch” of music and musical life in France during the last half-century, which demonstrates that “France, more than any other country, represented all that was best and most vital in twentiethcentury music” during that era. Meyer’s discussion of Saint-Saëns and his music during the early twentieth century is only in relation to the music of Fauré, whom he deems a “new old master.” 41. Noske, Frits. La mélodie française de Berlioz a Duparc; essai de critique historique. Paris: Presses Universitaires de France, 1954. 356 p. ML 2827.N6.The author investigates the songs of 18 composers including Gounod, Franck, and Saint-Saëns. He examines the musical characteristics of their melodies, formal designs, and details

30 CAMILLE SAINT-SAËNS

of text setting. Gounod, Noske believes, laid the foundation for the mélodie tradition and established a truly French genre, while Saint-Saëns and Franck raised the form from salon music to chamber music. Important chapters include a discussion on the origins of the mélodie, an examination of the theory of prosody, and the relationship of poets such as Gautier, Hugo, and Lamartine to music. This monograph likewise contains some valuable appendices: Orientalism in the mélodie; the music to an unknown mélodie of Franz Liszt; and a song catalog for each of the composers discussed. 42. Noske, Frits. French Song from Berlioz to Duparc. Trans. Rita Benton. New York: Dover Publications, 1970. 454 p. ISBN 486221040. ML 2827.N613.An English translation of the abovementioned citation (#41), this edition includes some new sections. These are a preface and a postscript, an English “Prose Rendering of the Poetic Quotations”; “Remarks for the Second Edition” of the song catalog (Appendix VI); and various illustrations. (See also #255.) 43. Pistone, Danièle. “L’oratorio a Paris de 1870 a 1900.” In Massenkeil Festschrift, ed. Gunther Massenkeil, p. 345–56. Bonn: Voggenreiter, 1986. 595 p. ISBN 3802401468. ML 55.The author asserts that renewed interest in the oratorio during the nineteenth century in France was sparked by choral society performances and a general resurgence of choral music. The revival of interest in sacred music propagated by schools such as Niedermeyer’s École de Musique Classique et Religieuse, and the Institute Royale de Musique Religieuse, not to mention the countless contests where composers were required to set an oratorio text, were also helpful in renewing interest in the genre. Many of the French oratorios are associated with liturgical feasts. Other examples eschew the title of oratorio altogether and are labeled by their composers scène biblique or drame sacré; however, they are nevertheless oratorios. He speaks about general style characteristics, orchestrations of the works, and the use of Latin texts which gave way to vernacular libretti. The essay is divided into three sections: “Les promoteurs du genre,” “Les oratorios modernes,” and “Les lieux et les interprètes.” 44. Prod’homme, J.G. “Music and Musicians in Paris during the First Two Seasons of the War.” Musical Quarterly 3 (1917): 135–60.This interesting article chronicles the various concert organizations in Paris in 1914 and 1915. These groups include the Matinée Nationales, the Concerts Colonne-Lamoureux (a merger of two famous nineteenth-century groups), the Grands Concerts, the Matinées Françaises, smaller organizations such as the Association Chorale Professional and the Concerts Populaires, in addition to the Opéra and the Opéra-Comique. The author discusses the changes in the repertoire of these groups which excluded all German music except Beethoven, and some Bach and Mozart. He also investigates the general musical public in France during this era. Saint-Saëns’s music enjoyed popularity during this time, as did that of Fauré, Berlioz, Chabrier, Dubois, Lalo, and Russians such as Borodin and Rimsky-Korsakov. It is interesting to note that more avantgarde music was not supported, but works such as Stravinsky’s Pétrouchka, as well as music by Debussy, Lili Boulanger, and Darius Milhaud were heard at this time. The merger of Colonne and Lamoureux was especially interesting in that the followers of the former preferred Berlioz and the supporters of the latter preferred Wagner. Another interesting trend during this period was that the concerts at the Salle Gaveau were theme-oriented: “Classics and the First French Symphonies” (works by Gossec, Beethoven and Méhul); “Musicians and the Orient” (works of

SELECTED GENERAL SOURCES 31

David, Borodin, Saint-Saëns, and Debussy); “The French Symphonists” and “Spain and the Musicians” (with music of Ravel, Saint-Saëns, Franck, Debussy, and Duparc). While in many ways this was a fertile time for French art music, the author reminds us that not all compositions written and performed especially for these concerts were worthy examples of Gallican art. This is an early article and indicates that other research needs to be done in this area. 45. Rohozinsky, L., ed. Cinquante ans de musique française 1874–1925. Paris: Libraire de France, 1925. 2 v. ML270.R74.This study treats the material chronologically and, in respect to opera, the chronology is defined by the tenure of specific directors of the opera house under discussion. Operatic repertory is given much more attention than symphonic, and often the individual authors provide detailed information such as receipts of individual operas and season schedules. The examination of symphonic music is chronological by composer. In his discussion of the music of Saint-Saëns the author of this portion of the study (Émile Vuillermoz) quotes from Émile Baumann’s Les grandes formes de la musique, and unidentified writings of Georges Servières on the composer, among others. The author does not examine the symphonic poem repertory or ballet music, but rather limits himself to more conservative examples of the traditional symphony with no in-depth analysis of the music. 46. Rosen, Charles. The Romantic Generation. Cambridge, Mass.: Harvard University Press, 1995. 723 p. ISBN 0674779339. ML 196.R67. Based upon the Norton lectures Rosen gave at Harvard, this volume examines the diversity of musical style, language, and forms manifest in the Romantic period. Literally hundreds of musical examples are offered to support the many original and insightful observations of the author. A brief CD is included which gives life to several of the musical examples from the text. This monograph has been hailed as the nineteenth-century equivalent to Rosen’s monograph The Classical Style. 47. Servières, Georges. La musique française moderne. Paris: G.Havard fils, 1897. 404 p. ML 390.S49.This monograph contains chapters on César Franck, Edouard Lalo, Jules Massenet, Ernest Reyer, and Saint-Saëns. The essays on each composer present a discussion of their works and career in a chronological fashion, but offer no analysis of compositions, or comparison of composers’ styles and biography. At the conclusion of each chapter Servières gives a list of each composer’s published works to date by genre. 48. Smith, Rollin. “The Organ of the Trocadéro and Its Players.” In French Organ Music from the Revolution to Franck and Widor, ed. Lawrence Archbold and William J.Peterson, p. 275–309. Rochester, N.Y.: University of Rochester Press, 1995. ISBN 1580460712. ML 624.In this chapter the author offers a brief history of the building of the Palais du Trocadéro, its use, and the acquisition of the instrument built by Cavaillé-Coll. According to the author’s research, Saint-Saëns is closely associated with it from the very early stages in 1877 when he was appointed to the Exposition Music Committee. Saint-Saëns also knew the priest, abbé Lamazou, who originally secured the instrument for his parish, but after falling into financial difficulties gave it up to the Trocadéro; perhaps through the intervention of Saint-Saëns? (The author does not go this far.) There is a detailed description of the specifications of the instrument as well as several pictures of the instrument with such illustrious musicians as Widor, Dupré, and Guilmant. Smith also gives the various programs of the inaugural celebrations from June 1878 to October 8, 1878. The opening concert

32 CAMILLE SAINT-SAËNS

featured Saint-Saëns’s cantata Les noces de Prométhée, and he was a featured recitalist on September 28, playing his own Trois rhapsodies sur des cantiques bretons, the Prelude to Le deluge, Bach’s Prelude and Fugue, BWV 552, Liszt’s “Saint Francis of Assisi Preaching to the Birds,” and the “Fantasia and Fugue on Ad Nos.” Smith also offers the critical reception of his recital, as well as that of all concerts given in the 1878 series. The Trocadéro was destroyed in 1935 to make way for the Palais de Chaillot built for the 1937 Exposition, and the instrument was salvaged and moved to the Amphitheater Maurice Ravel in Lyons. 49. Striffling, Louis. Musique et musiciens de France. Paris: Librairie Fischbacher, 1921. 132 p. ML 60.This volume includes essays on Jean-Jacques Rousseau, Jules Massenet, and “La chanson populaire en France.” The chapter on Saint-Saëns was originally delivered at a conference to foreign students at the University of Dijon in August 1912. The author offers an examination of the music and the artistic career of the composer. He judges Saint-Saëns to be—as Berlioz said—one of the greatest composers of our time. Striffling mentions the composer’s writings (in general terms), and quotes from several of his monographs, but does not always give a specific citation. Often he draws comparisons with Massenet, no doubt because this monograph contains a chapter on him too. The author states that while Massenet achieved fame in one genre, Saint-Saëns achieved fame in many. Striffling briefly mentions representative works from a variety of genres but offers no musical analysis; rather, he praises the composer for his “universality” and “eclecticism.” While recognizing that Saint-Saëns is a composer who is “not devoted to a single god,” the author arguably asserts that Saint-Saëns has no personal or original style. However, he challenges comments that his music is dry and without emotion, correctly noting that for Saint-Saëns musical beauty did not consist of “tumultuous” expression; rather, it was found in the “realization of an ideal…and consequently a form that represents the spirit.” The goal of his art was the realization of the beautiful. 50. Tiersot, Julien. Une demi-siècle de musique française: Entre les deux guerres 1870– 1917. Paris: Felix Alcan, 1918. 248 p. ML 270.4.T43.According to the author the goal of this book is to “frankly declare, to put into light, the qualities of French music: their diversity will be precisely a proof of their excellence.” In examining the various qualities of French music, it is not the author’s intent to “blame one” and “praise another.” The strength of this period is in its diversity. This time between the Franco-Prussian War and World War I was chosen by the author because it was an important period of “musical evolution” totally different than anything prior. He divides the volume between a discussion of the old school of Rossini, Meyerbeer, and Halévy, to the founding of the Société Nationale which promoted the Ars Gallica and the music of Bizet, Saint-Saëns, Franck, Lalo, Massenet, Dubois, Castillon, and others. He follows the growth and development of the Société Nationale, which gave over 400 concerts by 1914, and mentions the repertoire played and the use of the Société as a venue for new works. Tiersot also discusses the role of the Opéra in helping to advance the works of new French composers, as well as the various instrumental organizations including the Concerts Populaires, Concert National, and the Société des Concerts du Conservatoire. Other general chapters include one on the school of the Conservatoire and a discussion of the generation of 1871, and the final chapter examines the “young” generation after 1900. Here the author discusses the influence of Debussy and Ravel, as well as the music and style of the Schola Cantorum

SELECTED GENERAL SOURCES 33

students, Prix de Rome winners, and the Société Musicale Indépendante. In addition to these chapters there are others which deal more specifically with individual composers and their followers. These include one on Bizet, one on César Franck and Vincent d’Indy, Gabriel Fauré, Alfred Bruneau, Gustave Charpentier, and Debussy. Of particular interest for the present study is the chapter dedicated to Saint-Saëns. Here Tiersot offers a brief biography including a mention of specific compositions where they fall within the chronology. Following this, the author discusses SaintSaëns’s musical style, which he considers “a rare perfection,” possessing “neat and precise” formal organization, “never heavy,” and containing polyphony which is “of a perfect equilibrium.” While the composer is at home with “picturesque” music of the East, such as La princesse jaune, Samson et Dalila, Mélodies persanes, and the Suite algérienne, he is also at home with French subjects such as the Rhapsodie sur des cantiques brétons, and the Rhapsodie d’Auvergne. Without being specific, Tiersot points to Saint-Saëns as being a totally French composer. He states that “Italian bel canto never produced the most perfect and long vocal phrases...and marvelous forms” of “Printemps qui commence” and “Mon coeur s’ouvre a ta voix.” The author likewise avoids any comparison with the music of Wagner and Liszt, preferring to compare Saint-Saëns’s symphonic poems not with Liszt’s, but with Couperin’s titled clavecin pieces. 51. Walsh, T.J. Second Empire Opera: The Théâtre Lyrique, Paris 1851-1870. London: John Calder, 1981. 384 p. ISBN 0714536598. ML 1727.8.W34.This monograph published in the series The History of Opera chronicles the history of the Théâtre Lyrique. It is divided into chapters according to the tenure of specific directors and examines the the financial, political, and artistic decisions and events in the life of the opera house during the reign of Napoleon III. Especially valuable are the appendices, which include a list of operas performed at the theater complete with cast and total number of performances, a list by composers of operas performed at the Théâtre Lyrique, and glossaries of lesser-known composers, librettists, and translators. The final appendix is a brief list of the annual receipts from 1851 to 1870.

2 Biographical Studies: Primary Sources

52. Augé de Lassus, Lucien. Saint-Saëns. Paris: Delagrave, 1914. 271 p. ML 410.S15.A9.Each of the nine chapters is given a musical term for a title, such as “Prelude” “Scherzo,” “Andante,” etc., in which the author discusses the early life and career of the composer. The author admits that the monograph is “less of a history than a promenade Augé de Lassus was a collaborator with Saint-Saëns on two operas, Phryné (1893) and L’ancêtre (1905). His work with the composer enables him to speak with insight and authority, although his views and opinions may be biased. The author finds Saint-Saëns to be “absolutely faithful to himself,” and that the composer does not “lie to anyone,” not even himself. In writing this monograph the author indicates that he decided not to offer any technical analyses nor give a litany of the composer’s works. 53. Baumann, Émile. Les grandes formes de la musique: L’oeuvre de Camille SaintSaëns. Paris: Ollendorff, 1905. 475 p. ML 410.S15.B2.The author begins with a brief and not too detailed description of the “musical development of lyricism between Beethoven and Wagner” which touches upon the styles of Mendelssohn, Schumann, Chopin, Franck, and Berlioz. There is a chapter on the “L’oeuvre interieur,” in which Baumann offers some biographical information on Saint-Saëns, as well as a discussion of those composers who influenced him, especially Mozart, Gluck, Berlioz, and Gounod. In these pages the author speaks of Saint-Saëns’s personality, agreeing with other contemporary observations, and of his general musical style, which in Baumann’s view relies heavily upon formal organization and clarity rather than sentiment and effect. He calls Saint-Saëns a “great poet,” and indicates that for the composer “form is the apex of being.” The author devotes the remaining chapters to the composer’s large-scale forms including chamber music, concerti, symphonies, symphonic poems, songs, sacred music, and the operas and other “scenic” works. Within these chapters Baumann discusses individual compositions and offers brief, but often insightful comments. There is no attempt at any complete musical analysis of specific works. Interestingly enough Baumann states that like Wagner, who was considered a revolutionary, Saint-Saëns was a man of the “counter-revolution,” relying upon clarity and purity, while “obeying an instinctive method.” This monograph was reissued in 1923 with a brief appendix which only mentions (and not completely at that) Saint-Saëns’s last works, in no depth. 54. Blondel, C. Saint-Saëns et son cinquantenaire artistique. Paris: Durand, [1896]. 23 p.This pamphlet was originally published in Le Monde Artiste Illustré of June 21,

BIOGRAPHICAL STUDIES: PRIMARY SOURCES 35

1896, and includes a copy of the program for the celebrated concert as well as Gustave Lyon’s salutary remarks. The article itself is made up primarily of a series of excerpts from reviews of the concert which appeared in other journals, such as Le Figaro, Le Temps, Gaulois, Liberté, Le Petit Journal, and Paul Dukas’s favorable critique in the Revue Hebdomadaire. Blondel makes an interesting observation that he found it “curious” that the music periodicals were more “discreet” and more “reserved” in their appreciations of the concert than the political journals. 55. Bonnerot, Jean. Camille Saint-Saëns: Sa vie et son oeuvre. Paris: Durand, 1914. 179 p. ML 410.S15.B6.In this monograph Jean Bonnerot, the trusted friend and secretary of the composer, “only wanted to tell, day by day, the life and works of the master as faithfully as possible.” Therefore the book is a chronological account of Saint- Saëns’s life with a discussion of the important compositions which he produced along the way. It is not divided into chapters, nor is it organized by genre. Bonnerot’s is not an analytical study of the composer’s music or musical style. The author refrains from judgments and a psychological study, for which he feels the time has not come. He offers some important biographical information which has become the foundation for virtually all other dependable, scholarly biographies of the composer. Some of the interesting material includes excerpts from letters such as one from Liszt (1869), which praises Saint-Saëns’s Mass of 1856 as a work marked by an “elevation of sentiment” written by a “consummate master.” Sources of the comments like these and the many observations from the periodic press which are included throughout the monograph are unfortunately not identified in footnotes. 56. Bonnerot, Jean. Saint-Saëns. Paris: Vie des Peuples, 1922. p. 53–62. ML 410.S15.Beginning with a descriptive account of the evening of Saint-Saëns’s death, the author quotes several poems from the composer’s Rîmes familières pertaining to death. “Why fear death…death is a natural thing.” In the poem “Éternité,” the composer reminds us that we are here to accomplish our work. This becomes the point of departure for Bonnerot’s discussion of the stamina and fortitude of SaintSaëns. He recounts that even at eighty and eighty five, the composer continued to be an “impeccable virtuoso,” practicing his scales daily and practicing passages of Liszt’s “Jeux d’eau de la Villa d’Este” five or ten times until he could play them perfectly. The author describes Saint-Saëns’s music as containing “perfect technique,” “purity,” and an “elegant syntax,” but “exempt from rhetoric and facile sentimentality.” He quotes Vuillermoz: “A little musical knowledge can lead you astray, a great deal can bring you back.” A secretary and intimate friend of the composer, Bonnerot always offers keen and touching insights into Saint-Saëns’s life and personality, and continues to present the reader with a better picture of the man and musician. 57. Combarieu, Jules. “Saint-Saëns et l’opinion musicale a l’étranger.” Revue d’histoire et de critique 1 and 2 (1901): 355–63 and 390–92.This two-part article is a collection of several letters from well-known musical personalities, including Max Bruch, Siegfried Wagner, and Alexander Glazounov, as well as lesser-known musicians (Leonhard Wolff, Émile Sjögren, W. S. B.Matthews, and others) in support of SaintSaëns. Combarieu solicited these responses by sending a questionnaire to various famous musicians. Unable to publish them all, he selected only fifteen to print. These musicians compliment Saint-Saëns primarily on his concerti and symphonic poems, but also extol the merits of Samson et Dalila and Henri VIII. In the opinion of some of the Italian musicians, as a French composer, Saint-Saëns is second only to

36 CAMILLE SAINT-SAËNS

Berlioz. Comparisons between Saint-Saëns and Mozart are drawn by Glazounov, and Wagner makes the logical parallel between his grandfather’s, Liszt’s, and SaintSaëns’s tone poems. The final letter to the editor is from Saint-Saëns himself, who confirms the generous aid of Liszt and his encouragement in the completion and premiere of Samson et Dalila. 58. Combarieu, Jules. “Saint-Saëns, l’homme et le musicien.” La revue musicale 3 (1903): 590–96. ISSN 0035–3736.The author begins by attempting to make generalities about the composer’s personality; however, he realizes that it is difficult to do. The personalities and “psychology” of Mozart, Beethoven, and Wagner are easier to grasp, but Saint-Saëns is more elusive. The author shares two stories of meeting Saint-Saëns. During the second time (in 1902 at the Béziers festival) the author commented to the composer that he was “full of surprises,” to which SaintSaëns retorted, “You don’t know me!” It was then that Combarieu was struck with the idea of asking other great composers and musicians what they thought of the composer. While the results were interesting, they were not “decisive.” The second portion of the article deals with Saint-Saëns’s music. Classification of the works is simple. The author puts them in the following order: first is the symphonic music, which he believes is “of the highest inspiration”; then the symphonic poems, which display an “originality”; third are the operas with Samson at “the head”; followed by Étienne Marcel, Henry VIII, Proserpine, Ascanio, etc.; fourth are the 40 songs, including the Mélodies persanes; and the fifth and final category includes the piano concerti. Combarieu believes that Saint-Saëns’s music possesses “human sentiments” such as “melancholy” and dreaminess, but not in the style of Tristan. Saint-Saëns he believes is a “natural” composer. Despite his intellect, cultivation, and technical prowess he has a childlike simplicity. He can assimilate styles and schools, but not slavishly be a part of them. 59. Durand. Discours prononcés aux funérailles de C.Saint-Saëns. Paris: Durand, 1921. 18 p. CAD 8629.See citation #61 below. 60. Fourcaud, Louis de. Le Jubilé de Camille Saint-Saëns. Paris, [1896]. ML 410.S15.J8.This was written to celebrate the fiftieth anniversary of the composer’s debut as a pianist. The first section is a brief biography which praises Saint-Saëns’s contributions and musical style, concentrating upon his symphonic works and operas. A copy of the evening’s program is given with a general review of the pieces. Beginning with the overture to The Marriage of Figaro, the centerpiece was a series of five compositions of Saint-Saëns including the premiere of the Fifth Piano Concerto, with the composer as soloist. Following that there was the orchestral introduction to the second act of Phryné, a “Romance” for flute (op. 37) played by Paul Taffanel (with Saint-Saëns conducting the orchestra), the premiere of the Second Violin Sonata with Sarasate accompanied by the composer, and a transcription of Massenet’s La mort de Thaïs with Saint-Saëns at the piano. The concert concluded with Mozart’s Concerto in B-flat, which Saint-Saëns played at his first concert in 1846. The orchestra was made up of artists from the Société des Concerts du Conservatoire conducted by Taffanel. Following the reproduction of the program is a review of the evening naming some of the musical luminaries in attendance, and the witty yet touching poem written by the composer which he read to the audience. This keepsake concludes with the brief address given by Gustave Lyon, the director of the Maison Playel.

BIOGRAPHICAL STUDIES: PRIMARY SOURCES 37

61. Funérailles de Saint-Saëns: Discours prononcés le 24 octobre 1921 au cimetière du Montparnasse. Paris: Durand, 1922. 18 p. CAD 8629.This pamphlet contains remarks delivered at the composer’s funeral by Alfred Bruneau, E.Gigout, Carol Berard, C.Joubert, Edmond Haraucourt, Charles Widor, and Léon Berard. Note the incorrect month of October. It should be December. 62. Gallet, Louis. “Camille Saint-Saëns.” Revue de l’art ancien et moderne 4 (1898): 385–96.Published the year of the author’s death, the article was written by SaintSaëns’s friend and collaborator. Gallet discusses Saint-Saëns the man with much valuable and reliable insight. He examines both the public side of the composer, which is dignified and often viewed as cold, and the personal, friendly side, which is full of goodness, simplicity, and childlike humor. Gallet confirms the composer’s prodigious memory, his precision, and “noble egotism” which he claims was more for the composer’s own satisfaction. He identifies the monograph Harmonie et mélodie as a “precious document of the composer’s aesthetic,” and mentions his letters with fondness. Gallet praises Saint-Saëns the composer for his individuality, and acknowledges the composer’s respect for Wagner’s music, which Saint-Saëns was able to admire without becoming a “blind disciple of his doctrine.” Gallet believed that Saint-Saëns’s style was the result of his intense study and profound knowledge of all music. He especially praises Samson et Dalila and Proserpine as being of “capital interest.” Samson he believed was successful because of its variety of style and musical diversity, and Proserpine because it contains a perfect individualism which makes it modern. Finally Gallet admonishes those who believe that the composer was cold and without passion, recalling that as a man he had suffered greatly, but as an artist he was able to remain serene. The Symphony in Eflat and the one in C minor (the “Organ”) Gallet considers to be exemplary essays in the genre; Saint-Saëns’s impeccable musical form and high thoughts make him a “classic” in contemporary music. 63. Guide du concert, special Saint-Saëns issue, January, 1922.This is a special collection of 30 articles on the music and person of Saint-Saëns organized immediately after his death as a tribute to him. Contributions range from simple personal appreciations such as that by Fernand Le Borne (#99), to discussions of specific genres of his music, such as Vierne’s article on Saint-Saëns’s religious music (#215), and Gabriel Bender’s on the symphonic music (#218). Aspects of the composer’s personality and style are examined in Bonnerot’s “Saint-Saëns voyageur” (#98) and Paul Viardot’s “Saint-Saëns gai” (#155). At the conclusion of the collection is a piano transcription of the “Marche du Synode” from his opera Henry VIII. Each of these articles is examined separately in the body of this monograph. 64. Hervey, Arthur. Saint-Saëns. London: John Lane, 1921. 159 p. ML 410.S15. H3.This monograph is divided into seven sections. This includes an examination of SaintSaëns’s biography as well as his artistic and aesthetic principles. Hervey then devotes chapters to the composer’s operas, orchestral music, chamber music, piano works, oratorios, masses, and cantatas, and finally Saint-Saëns’s literary works, which includes a discussion of his essays, poetry, and other literary endeavors. This is the first English-language monograph dedicated entirely to the life and works of the composer, and by the author’s own admission, he relies upon Jean Bonnerot’s monograph of 1914, as well as some of the composer’s own journal articles. Hervey does not indulge in hero-worship; however, he acknowledges that the musical style and aesthetic of Saint-Saëns would serve well as a model for contemporary art,

38 CAMILLE SAINT-SAËNS

which at the time he believed was at risk of being corrupted and destroyed by the Cubists and others in the visual arts. In the individual chapters on specific genres, the author’s discussion is incomplete. He mentions only selected compositions, and examines them in a cursory fashion. There is no in-depth analysis. However, Hervey’s monograph offers the modern reader a fine sense of an early twentieth century appreciation of Saint-Saëns’s music and musical aesthetic. It also offers some insightful observations on specific compositions as well as the composer’s musical style. 65. Hervey, Arthur. “Camille Saint-Saëns.” In Masters of French Music: A Series of Biographical and Critical Sketches, p. 107–44. New York: Scribner and Sons, 1894. ML 390.H57.The author gives only a fleeting mention of Saint-Saëns’s early biography, but rather concentrates upon his career and music from the early 1870s on. Hervey also shares with the reader the opinions of von Bulow, Auber, Berlioz, Liszt, Gounod, and Wagner on Saint-Saëns. The author deals primarily with the composer’s symphonic poems, piano concertos, and dramatic works, giving only superficial descriptions of various compositions. He considers Saint-Saëns to be a pianist of the first rank, perhaps at his best when interpreting the work of Bach. In this essay the author praises the composer for his complete gift of musical organization and his eclecticism, and for being a perfect master of his craft. Those who consider Saint-Saëns dry and unemotional should listen to Samson et Dalila, according to Hervey. A sizable amount of time is spent upon the dramatic works, which the author finds to be influenced by Gounod, and which he reports are said to contain some affinities with Auber (although Hervey does not hear this). He praises Le timbre d’argent for the superior manner in which Saint-Saëns treats the orchestra, but melodically he feels that it is rather common. Samson is, according to him, the composer’s best work, and he makes a plea in the text for a London performance. Hervey quotes Gauthier Villars, who remarked that there exists in Saint-Saëns three men with three temperaments: the absolute musician, the dramatic musician, and the critic who is always erudite and often bitter. Hervey believes that the symphonic poems may not contain the “powerful grandeur” of Liszt’s, but they are a “clearer, more compact method of expression.” Other works only mentioned by Hervey include the Christmas Oratorio, Le deluge, the Requiem, the Mélodies persanes, some piano pieces, the three violin concertos, and the Introduction and Rondo Capriccioso. He also gives special mention to the works composed for England: the “Organ” Symphony, and Lyre et harpe. In closing, Hervey recognizes Saint-Saëns’s contributions as a writer, and explains the composer’s seeming change of heart toward Wagner in Saint-Saëns’s own words (from Harmonie et Mélodie, #284): “I admire the works of Richard Wagner profoundly…they are superior and powerful, which suffices for me…but I shall never belong to the Wagnerian religion!” 66. Hippeau, Edmond. “Camille Saint-Saëns.” Renaissance musicale (March 4, 1883): 65–66.Hippeau offers a brief appreciation of the composer, whom he describes as short and nervous with gray eyes and a pale complexion. Hippeau also believes the composer to be a man with a sympathetic nature, and alludes to his great sufferings (no doubt the deaths of his two sons). The author limits his comments primarily to Saint-Saëns’s dramatic works to date, praising Samson et Dalila and Henry VIII and mentioning La princesse jaune, Le timbre d’argent, and Étienne Marcel. He believes Saint-Saëns to be a composer who could take a text and capture the poetry, the drama, and the human passion in his setting. Even though the composer was an

BIOGRAPHICAL STUDIES: PRIMARY SOURCES 39

admirer of Bach, Beethoven, Berlioz, Gounod, and Wagner, he did not imitate them. He also includes the composer’s famous quote that art has no country, only the artist does. Hippeau believes that “in front of music paper [lined paper] you are neither Belgian, neither French, neither German, neither Russian, neither Italian.” While Saint-Saëns may have been influenced by Gounod and Wagner, “he marches in front of them without following blindly.” 67. Lalo, Pierre. “A propos d’un anniversaire de M. Saint-Saëns.” Le Temps (May 29, 1906).This is a fine but brief appraisal of the musical style of Saint-Saëns in honor of the composer’s sixtieth anniversary of his debut. Lalo recognizes the contradictory elements of the composer’s music. It has extraordinary qualities and defects. The author believes that Saint-Saëns’s style is clear, precise, and well organized, but often feeling and emotion are lacking. Judging the composer’s overall contributions to music, Lalo feels that his chamber music, known for its elegance and purity, is of the same caliber as that of Mozart and Haydn; and that his Symphony in C minor (the “Organ”), is “one of those rare pieces which one is able to point out after the symphonies of Beethoven.” Lalo however laments Saint-Saëns’s “injustices” and “excesses” in his “opposition to Richard Wagner.” 68. Laloy, Louis. “C. Saint-Saëns et les italiens.” Le Ménestrel 7 (1905): 180–81.This article attests to Saint-Saëns’s dislike of the Italian verismo opera style. The author reprints a letter the journal received from the composer on June 14, 1905 in which Laloy accuses Saint-Saëns of “belittling” the modern Italian style. He also reminds the reader of Saint-Saëns’s “artistic aversions” to Wagner, d’Indy, Franck, and Debussy. Though brief, this is one of the few instances which deals with the composer’s opinion of modern Italian music. 69. Lara, René. “Le cinquantenaire du premier concert de M. Saint-Saëns.” Le Figaro (June 2, 1896): 3–4.This is a brief article which celebrates the fiftieth anniversary of Saint-Saëns’s debut concert in 1846. Lara offers an excerpt from Henri Blanchard’s favorable review in the Gazette musicale of the debut. Even as a child Saint-Saëns’s playing was judged “neat, elegant,” and expressive. The author also mentions a few anecdotes about the composer, including the time Auber (acting as a contest judge) commented that it was too bad the winning work, Les noces de Prométhée, was not written by a Frenchman, only to have the author be revealed as Saint-Saëns! Lara also mentions Saint-Saëns’s collaboration with Pauline Viardot, his masterpiece Samson et Dalila, and praises the “strength of inspiration and science of execution” of his keyboard performances and abilities as a composer. Lara likewise announces the re-creation of Saint-Saëns’s first concert. 70. Lefevre, Maurice. “Camille Saint-Saëns jugé par ses pairs.” Musica no. 57 (1907): 82. The author’s statement that Saint-Saëns is considered the quintessential and greatest French musician is supported by the many quotes of other great contemporary musicians he has gathered. After a generalized litany of the composer’s accomplishments, Lefevre gives complimentary quotes from various musicians (and non-musicians) who admired the composer. These include Berlioz, Gounod, Verdi, Wagner, Liszt, Bizet, and Hans von Bülow. 71. Lindenlaub. Le jubilé de Saint-Saëns. Paris: Quantin, [1896].See the citation for #60 above. 72. Malherbe, Charles. “Saint-Saëns jugé par un Anglais.” Revue internationale de musique (May 1, 1898): 293–99.The author critiques a British review of a concert by Lamoureux appearing in the Saturday Review. At this concert the orchestra played

40 CAMILLE SAINT-SAËNS

73.

74.

75.

76.

Saint-Saëns’s Danse macabre in addition to the Overture to the Magic Flute, the Prelude to the third act of Lohengrin, and Beethoven’s Ninth Symphony. It is obvious from the quotes of the English reviewer (who only gives his initials, J.F. R.) that he believes Saint-Saëns’s piece to be “rubbish,” and attacks it for its lack of imagination and uniqueness. He accuses the composer of “never expressing anything, because he has nothing to express.” Malherbe defends Saint-Saëns by saying that “he is content by being himself,” “he shows his musical genius,” and intelligence, his spirit and good humor, his “correctness,” and his love of beauty. Malherbe likewise believes that the reviewer’s over-general opinions and comments show that he actually knows very little of Saint-Saëns’s music, which the English in general must love and admire, because not only did he compose his Third Symphony to a British commission, but he also composed La lyre et la harpe for them, and was presented with an honorary doctorate from Oxford. While this one reviewer may not think well of Saint-Saëns, it is Malherbe’s conclusion that the English in general must think otherwise. Mason, Daniel Gregory. “Camille Saint-Saëns: A Modern Classicist.” New Music Review 14 (1914–15): 196–99.Mason praises Saint-Saëns for his classicism and believes that “the present day has a real need for artists of Saint-Saëns’ type.” The author feels that Saint-Saëns is a promoter of “reason” in music, and that no matter how dry his music may be at times, it is never superficial. Mason also give a brief but limited analysis of the Rouet d’Omphale to demonstrate the composer’s symphonic style and his use of program music. Montargis, Jean. Camille Saint-Saëns: L’oeuvre, l’artiste. Paris: La Renaissance du Livre, 1919. 156 p. ML 410.S15.M6.This monograph is divided into four sections: “L’éducation musicale,” “L’oeuvre de 1858 a 1878,” “L’oeuvre 1878 a 1914,” and “La personalité artistique.” Obviously it is an incomplete examination of the music and career of the composer, owing to the year of its publication. The author also includes a works list in chronological order (including works edited by Saint-Saëns), a list of his literary works to date, and a bibliography. The analyses are rather descriptive in nature, and often general. Montargis draws upon his knowledge of early monographic writings on Saint-Saëns, including those by Bonnerot (#55), Augé de Lassus (#52), Baumann (#53), and Servières (#47), in addition to studies by Hippeau on Henri VIII (#204), Destranges on Samson (#197), and Malherbe on Ascanio (#209). Musica, special Saint-Saëns issue, June 1907.This special issue contains insightful articles pertaining to the composer’s biography written by the celebrated singer Pauline Viardot (#81), his dramatic music written by the composer André Messager (#210), and his symphonic works written by Georges Marty (#224). Other interesting and informative contributions include René Thorel’s “Saint-Saëns intime” (#80) and Maurice Lefevre’s “Camille Saint-Saëns jugé par ses pairs” (#70). In addition to these articles, there are numerous photographs and sketches which show the composer in various stages of his life and career. The individual articles are examined throughout the body of this monograph. Neitzel, Otto. Camille Saint-Saëns. Berlin: Harmonie, 1899. 94 p. ML 410.S15.N4.This monograph begins with a brief biography of the composer before discussing first the orchestral works, then the dramatic (or “theatrical”) works, and finally the concerti and chamber music together. Neitzel’s examination of the symphonic poems includes the Danse macabre, Phaëton, Le rouet d’Omphale, and

BIOGRAPHICAL STUDIES: PRIMARY SOURCES 41

La jeunesse d’Hercule. He then discusses and analyzes the three symphonies, as well as the Suite algérienne. A discussion of the theatrical works comprises the largest section of the monograph, and addresses Samson, Henri VIII, Ascanio, Étienne Marcel, Proserpine, Le timbre d’argent, Phryné, Javotte, Frédégonde, Antigone, and Déjanire. The author takes each in turn and offers a brief history, a list of singers for the premiere, a description of the plot, and, for selected works, a limited analysis of the music. The final section of the monograph discusses the concerti and instrumental music as well as a mention of vocal compositions including the Deluge, the Christmas Oratorio, and La lyre et l’harpe. His comments in this section are general and often superficial. Instrumental music mentioned here includes the Third Piano Concerto, and the op. 61 Violin Concerto composed for Sarasate. 77. Parker, D.C. “Camille Saint-Saëns: A Critical Estimate.” Musical Quarterly 5 (1919): 561–77. ISSN 0027–4631.The author divides this essay into three sections pertaining to Saint-Saëns: “His Place,” “Artistic Creed,” and “Saint-Saëns the Critic.” Parker believes Saint-Saëns to be epigrammatic and likens his style to Anatole France, not Émile Zola. While the author feels that his music is not profound, it is nevertheless tasteful. Musically Parker states that Saint-Saëns runs toward Bach, then Gounod, then Liszt. He confirms that the composer is not bound by any school (such as the followers of Franck), and reinforces Saint-Saëns’s own distaste for excess and extremism in art. Parker offers a brief table which sets Saint-Saëns’s chronology of composition in comparison with other French composers, as well as Wagner, Strauss, and Verdi. This he believes demonstrates that he was independent of “periods,” unlike others (such as Verdi). Finally, as a critic, Parker believes SaintSaëns to be underestimated. His ability to judge calmly and his commitment to study and examine a work before making a pronouncement make him a trustworthy critic. 78. Platzbecker, Heinrich. “Camille Saint-Saëns: Zu seinem 70. Geburtstage.” Neue Musik-Zeitung 27 (1905): 12–13.This biographical tribute was written on the occasion of the composer’s seventieth birthday. It is a chronological expose of some of his most noteworthy compositions, which the author discusses by genre. There is unfortunately no in-depth analysis of any of the works, but rather this article is a cursory acknowledgment of his contributions in each of the major musical forms. The author does indicate that Le rouet d’Omphale, Phaëton, and the Danse macabre were the three most popular symphonic works of Saint-Saëns played in Germany. There is an interesting aside in regard to his travels in Algiers and the exotic influences on Saint-Saëns’s music. 79. Seré, O. [J.Poueigh]. “Camille Saint-Saëns.” In Musiciens français d’aujourd’hui, pp. 368–78. Paris, 1921. ML 390.P763.This is a collection of biographies of contemporary French composers in which the author offers much already known information regarding Saint-Saëns’s biography. However, it does serve to help substantiate biographical details and events. The most unique and interesting contribution is the plethora of rather extended quotes given in the concluding pages. These come from a variety of not easily obtainable sources which are unfortunately not completely identified. As may be expected, Saint-Saëns is praised for his classical moderation, as well as his support of Liszt, Wagner, and Schumann. Some of the more interesting brief quotes include “[Saint-Saëns] never changes his style; he practices all with equal ease” and “Saint-Saëns is not tormented by any one passion. Nothing alters the lucidity of his reason. He does not have a system; he is not of any one party.” Seré believes that in “the face of frenetic torrents of Richard

42 CAMILLE SAINT-SAËNS

Strauss, Saint-Saëns’s music represents a calmness and tranquility of harmony, with smooth modulations, and great clarity.” He believes the composer’s “classical coolness” to be a reaction against the exaggeration of the “new art.” Among SaintSaëns’s masterpieces, Seré includes La danse macabre, Le Deluge, Symphony no. 3, and Samson. 80. Thorel, René. “Saint-Saëns intime.” Musica 6, no. 57 (1907): 92.Thorel speaks not of the “official” Saint-Saëns, but of the “simple man,” and his three faults: “being too good, often too frank, and always too modest.” The author indicates that the composer was not attached to “things” but to people. He tells several unique stories which support the composer’s kindness, generosity, commitment to his friends, and good humor. Thorel also describes Saint-Saëns as a boulevardier, gourmet, and animal lover. This article includes photos of Dalila, Saint-Saëns’s pet dog, candid photos of the composer himself, and an example of a drawing by the composer with which he often decorated his correspondences. 81. Viardot, Pauline. “La jeunesse de Saint-Saëns.” Musica no. 57 (1907): 83–84.The author corroborates information given by the composer himself and in other sources about his childhood (his first concert, studies with Stamaty, etc.). Viardot believes that his musical sensitivity and polish was the result of the education he received from his mother and his great-aunt, Charlotte Masson. The author also recounts some of her experiences with Saint-Saëns as an accompanist, revealing that he played Schubert’s Erlkönig “astonishingly.” She likewise mentions their evenings of charades with George Sand, Flaubert, Turgenev, Gounod, Ambroise Thomas, and Fauré, in addition to Saint-Saëns’s pantomime of Robert le diable with Bussine and Paul Joanne dancing a pas de deux as the nuns. Other light-hearted evenings of jest are described as well as confirmation of the private premiere of Act II of Samson et Dalila, the staging and costuming of which surprised the composer himself. Pauline Viardot indicates that this private performance took place at Bougival, but Alexandre Zyiguilsky’s investigation of the letters of Turgenev (#217) indicated that it was at Croissy-sur-Seine, a fact held to be true and confirmed in Studd’s most recent biography of the composer. 82. Weingartner, Felix. “Ein offener Brief an Saint-Saëns.” Neue Musik-Zeitung 36 (1915): 82.This article concerns Weingartner’s response to an article written by the composer in the Echo de Paris. Unfortunately there is no specific citation of the article. Weingartner accuses Saint-Saëns of saying that “the music of a people is equivalent to their character,” and that in Wagner’s music one hears the “atrocity against women and children and the bombardment of cathedrals.” Wishing not to believe that the composer would say this, Weingartner offers him a chance to explain his comments. Saint-Saëns refuses to because Weingartner (among other German artists and book dealers) signed a manifesto to the neutral states regarding publishing. The editor believes that this is a “foul excuse” and that Saint-Saëns appears to be ashamed.

3 Biographical Studies: Secondary Sources

83. Aguétant, Pierre. Saint-Saëns par lui-même. Paris: Editions Alsatia, 1938. 183 p. ML 410.S15.A14.This book chronicles the friendship between the composer and the author through selected letters from 1918 until the latter’s death. These correspondences offer insights into his personality and views on topics such as art, singing, children, poetry, and painting. The monograph concludes with several orations delivered at Saint-Saëns’s funeral, including those by Alfred Bruneau and Charles-Marie Widor. 84. Anonymous. “Médaillon biographique.” Le guide du concert 3 (1922): 3.A brief overview of the composer’s biography, this article is much like a lexicographical entry highlighting various important dates, compositions, literary works, and biographical information. It does not attempt to analyze or examine style characteristics or specific works. 85. Art musical, L’. “Camille Saint-Saëns par ceux qui l’ont connu.” (November 15, 1935).This entire issue is dedicated to Saint-Saëns in honor of the centenary of his birth, and includes the following articles: “L’oeuvre dramatique de Camille SaintSaëns (Henri Busser, #185), “La musique symphonique, la musique de chambre, la musique d’orgue” (Maurice LeBoucher, #128), “Saint-Saëns pianiste” (M.RogerMiclos, #239), and “Esquisse de la vie de Saint-Saëns” (Arthur Dandelot, #110). Perhaps not as lengthy nor in-depth an examination of Saint-Saëns as one might expect, it nevertheless is an attempt to prevent the composer from falling into obscurity. The volume is replete with important photos, drawings, copies of letters, and an excerpt of the manuscript from the “Organ” Symphony. Each of these articles is examined individually in the current monograph. 86. Athénius. “Pour Saint-Saëns.” Le guide du concert 3 (1922): 2.This brief article functions as a preface to the 29 articles which follow in this special “post-mortem” tribute to Saint-Saëns. The composer is described as aspiring neither to be revolutionary nor to create his own school, but rather he unites diverse spirits. SaintSaëns “remains simple to remain great.” 87. Aubry, G.Jean. “Camille Saint-Saëns.” Chesterian 20 (1922): 97–100.This article, appearing in a British journal, challenges the French periodic press which at the time of the composer’s death contained numerous laudatory and complimentary remarks on the composer and his music. Aubry takes the composer to task for being conservative. Although “equipped with a fluent technical ability” he was “impaired by a weak musical personality” which was “deprived of originality,” according to the

44 CAMILLE SAINT-SAËNS

88.

89.

90.

91.

author. He views Saint-Saëns as having been intolerant and his music as being superficial and shallow. Despite this, the author grudgingly admits that the composer played a role in the “formation of contemporary French music,” but prefers Fauré, Debussy, Franck, and d’Indy. Augé de Lassus, Lucien. “Le coeur et la main.” Le guide de concert 3 (1922): 11–12.In this article, the author speaks of the compassionate side of Saint-Saëns, his generous heart, and his willingness to give of his talent to benefit others. He cites some examples, such as his piano pieces for the left hand which he wrote for a friend who lost the use of his right hand. The author believes that this innate goodness and warmth was in part due to the fact that he was raised by two caring and sensitive women: his mother and great-aunt. This article includes a caricature of the composer in his national guard uniform by Gabriel Fauré and a photograph of his concert of November 1913 which was in aid of the soldiers of Paris. B., G. “Camille Saint-Saëns est mort.” Le guide du concert 8, nos. 12–13 (1921): 181.This is a brief death announcement consisting primarily of many insightful quotes from critics and musicians who compare Saint-Saëns to Bach, Mozart, and Mendelssohn, and praise him for being a “classic.” This volume of the journal indicates that there will be a special issue dedicated to the composer in January 1922. See citation #63. Baumann, Émile. “Histoire de mon amitié pour Camille Saint-Saëns.” In Intermède, p. 170–92. Paris: Bernard Grasset, 1927. This is a chronicle of Baumann’s friendship with the composer. Baumann was first impressed by Saint-Saëns in 1876 when the composer was in Lyon conducting Étienne Marcel; however, it was the Cello Sonata in C minor which had the greatest effect upon the young Baumann. To him it seemed to possess a “sense of inner tragedy.” Other works which he found captivating were Le Deluge, the C minor Piano Concerto, the “Organ” Symphony, and the Requiem. It was in 1891–92 when they first met through the introduction of M. and Mme. Roy, when the composer had just completed the E minor Piano Trio (op. 92). Baumann also describes the composer’s positive reaction to his Grandes formes de musique (#53), which he was writing on the music of Saint-Saëns. In this article Baumann also shares with the reader some anecdotes and stories of the circumstances of their meetings, and the premieres that he attended. He speaks favorably of Samson, and refers to Parysatis and Déjanire as possessing an “Olympian splendor.” Their long friendship was not without its turbulent times. They had misunderstandings regarding the music of Wagner and religion; however, they always managed to reconcile. For Baumann Saint-Saëns’s music offers immense joy and happiness. Bellaigue, Camille. “Saint-Saëns.” In Paroles et musique, p. 151–58. Paris: Perrin, 1925. ML60.B438.This brief biographical tribute to the composer was written in January 1922, just one month after his death. Bellaigue argues that Saint-Saëns’s music possesses an emotional quality despite what some detractors said. He points to the “touching farewell” of Catherine in Henry VIII, and Samson’s “Cantilène” sung as he turns the mill wheel. Other works which the author believed demonstrate the composer’s gift of musical “spirit” include the prelude to Deluge, La lyre et la harpe, Phryné, and the Symphony in C minor. Bellaigue considers Saint-Saëns to be “classic” because his music breaks the barriers of all countries and all time like the geniuses of Bach, Mozart, and Beethoven. However, Saint-Saëns does not imitate them. His music possesses clarity, order, unity, and equilibrium, which bestows upon it intelligence and reason. Finally, Bellaigue finds the composer’s music to have

BIOGRAPHICAL STUDIES: SECONDARY SOURCES 45

“spirit,” something which the author considers typically a French characteristic. This is heard in his piano music which he finds to be spiritual like the “ancient clavecinist” Rameau. 92. Bernard, Robert. “Camille Saint-Saëns.” La revue musicale 16 (1935): 241– 43. ISSN 0035–3736.This brief article was written for the centenary of both Saint-Saëns’s and Victor Hugo’s birth. The author pay s tribute to the composer whom he viewed as the “prototype of a French musician,” possessing an academic elegance and a preoccupation with style, impeccable orchestration, and polyphonic and harmonic technique. He further compares Saint-Saëns with Mendelssohn as a “son of the cultivated bourgeois.” 93. Bernier, Conrad. “Émile Baumann et l’oeuvre de Camille Saint-Saëns.” Georgetown University French Review 1 (1937): 3–17.This article is an examination of Baumann’s monograph on Saint-Saëns, Les grandes formes de la musique: L’oeuvre de Camille Saint-Saëns (#53). The author describes how “the history of a musician is written by an artist.” Bernier chronicles Baumann’s brief account of the history of liturgical music prior to his discussion of Saint-Saëns’s Deluge, Christmas Oratorio, and various other sacred compositions. The author groups Saint-Saëns’s oratorios into three types: liturgical (Christmas Oratorio), biblical (Le Deluge), and symbolic (La lyre et la harpe), and then he offers Baumann’s observations on each with his own comments. 94. Bondeville, Emmanuel. Un grand musicien mal connu: Camille Saint-Saëns. Paris: Firmin-Didot, 1971. 16 p. ML 410.S15 B57.This was a pre-concert lecture given at the séance publique annuelle on December 1, 1971 before a performance of SaintSaëns’s “Organ” Symphony. Bondeville never really satisfyingly answers why he believed Saint-Saëns to be misunderstood. Rather he discusses the many “paradoxes” of the composer, such as how he supported Berlioz, Liszt, Schumann, and Wagner, but he could not accept Debussy. The author draws several parallels between SaintSaëns and Liszt: each was a pianist-composer, and each was interested in “symphonic poems.” Bondeville spends the majority of his article in a discussion of Saint-Saëns’s views of Wagner. He quotes from various writings of Saint-Saëns but does not always give his source. He recounts the composer’s admiration of Wagner’s music, but points out that the “truth is more nuanced.” Saint-Saëns did not look upon Wagner’s music with the religous fervor of others, he rather kept an independent view. Bondeville also quotes the composer who said that his opinions of Wagner’s music did not change, only the circumstances changed. 95. Bonnerot, Jean. Saint-Saëns, 1835–1921: Sa vie et son oeuvre. Paris: Durand, 1922. 241 p. ML 410.S15.B63.This monograph, which the composer himself requested his secretary and friend to write, continues to be arguably the most accurate account of his life. Bonnerot indicates that the book is not a critical study, but a “scrupulous and sober memorial” the purpose of which is to give a precise rendering of the events, dates, and accomplishments of composer. To that end, the author concentrates upon Saint-Saëns’s biography rather than offering an analytical approach to his music. Other more recent accounts of the composer’s life and works rely heavily upon this premier, accessible, and accurate monograph. 96. Bonnerot, Jean. “Mort de Camille Saint-Saëns.” Mercure de France (January 1, 1922): 273–75. ISSN 1149–0292.In a fine necrology of the composer, Bonnerot offers a sincere appreciation of the master’s music, as well as a detailed, albeit limited, biographical sketch. He describes Saint-Saëns’s music and achievements not in a

46 CAMILLE SAINT-SAËNS

saccharine and romantic tone, but respectfully and factually, making reference to his many unique contributions, and his indefatigable enthusiasm for his art. Although brief, it remains a valuable source written less than a month after the composer’s death. 97. Bonnerot, Jean. “Les domiciles parisien de Saint-Saëns.” Mercure de France (March 1, 1925): 568–71. ISSN 1149–0292.Sparked by the unveiling of a plaque on February 17, 1925 at 14 rue Monsieur-le-Prince, where the composer lived from 1877 until 1889 (and the scene of the tragic death of his son who fell from the thirdstory window), Bonnerot documents the various places where Saint-Saëns lived, beginning with his Latin Quarter apartment at no. 3 rue Jardinet (1835–57). Following that he moved to no. 168 on the Faubourg St. Honoré to be near his position at La Madeleine. This apartment once belonged to the writer Desire Nisard. It was here too that Saint-Saëns installed a telescope to observe the Donati comet of 1858. This was also the apartment in which he held his famous Monday musical gatherings. From 1890 until 1904 Saint-Saëns traveled (after the death of his dear mother), and preferred rented rooms and furniture since his family belongings were now in the museum in Dieppe. The years between 1904 to 1910 found him at no. 17 rue de Longchamp, before his final address in Paris at 83 rue de Courcelle on the third floor. It was from this address that he left to go on his final voyage to Algiers. There is a plaque on that building as well, according to Bonnerot, which documents the composer’s time there. This remains an important document for anyone writing the composer’s biography, or attempting to date his compositions. 98. Bonnerot, Jean. “Saint-Saëns voyageur.” Le guide du concert 3 (1922): 20–24.This article chronicles the composer’s trips to the exotic climes of Algeria, the Canary Islands, Ceylon, and Egypt, in connection with important biographical events such as the death of his mother, and poor personal health. Bonnerot also mentions the compositions which benefited from these sojourns (Ascanio, Frédégonde, Déjanire, and La terre promise), as well as works which found their genesis in these countries (Suite algérienne, Barbares, and Phryné). The author also provides information regarding Saint-Saëns’s non-musical activities and friendships on these voyages. 99. Borne, Fernand Le. “Quelques souvenirs.” Le guide du concert 3 (1922): 56–57.One of Saint-Saëns’s former students recalls his first meeting with the composer by invitation of Gounod and Dannhauser from the Conservatoire. He remembers the first Monday evening soirée at which Saint-Saëns and Messanger played piano duets of Liszt’s Mazeppa and Les preludes as well as performances of arias from Samson, a piano trio, and various chansons. From that point on Le Borne began private lessons with Saint-Saëns every Monday, often concluding with dinner accompanied by lively philosophical discussion and attended by other prominent musicians. The author recalled bringing his score of Parsifal to a lesson, whereupon Saint-Saëns exclaimed that for his punishment the student would listen to the master play the first act before lunch, and then afterwards the remainder of the opera. Le Borne remembered SaintSaëns as a strict, sometimes harsh instructor, but one whose generosity, kindness, and genius were exceptional. 100. Boschat, Adolphe. “Saint-Saëns.” In Portrait de musiciens, v. 2, p. 88–98. Paris: Librarie Plon, 1947. 224 p. ML 385.B8 v. 2.The chapter on Saint-Saëns is divided into four sections. The first, “Le témoin d’un siècle,” briefly examines the composer’s place in the period in which he lived, highlighting his debut as a prodigy to the time of World War I. Boschat quotes heavily from an article in the Echo de

BIOGRAPHICAL STUDIES: SECONDARY SOURCES 47

Paris from October 10, 1910. The second is a discussion of the Carnaval des animaux. The author feels that the two titles, Le carnaval and Le cygne, demonstrate the “double character” of the work. It is on one hand a “comic fantasy” contrasted with “episodes of pure music and poetry.” The third portion, entitled “Saint-Saëns sur l’Acropole,” retells the composer’s trip to Greece, where he conducted his own Jeunesse d’Hercule at the foot of the Acropolis. This section also gives Boschat the opportunity to praise Saint-Saëns’s music for its classical attributes, and laud him for his commitment to beauty in art. Finally, the fourth section of this chapter is taken from the author’s article in Echo de Paris written at the death of Saint-Saëns. Here, Boschat points to the influences of Berlioz and Liszt upon the composer, and tells of his wide musical knowledge which encompassed everything from the ancient contrapuntists to modern music. In closing, the author lays to rest the rumors that Saint-Saëns was Jewish by reminding the reader that his uncle was a priest, and he denies that the composer was mean-spirited by testifying to his generosity and charity. 101. Boschat, Adolphe. “Berlioz et Saint-Saëns.” Le guide du concert 3 (1922): 52–53.These remembrances come from the author’s research for a biography on Berlioz, Crépuscule d’un romantique. He briefly chronicles their relationship, beginning with their first meeting prior to 1850. In 1854–55 Saint-Saëns worked on a piano reduction of Lélio, and was impressed by Berlioz’s Te Deum. However, it was a mutual fondness for the music of Gluck that sealed their friendship. Saint-Saëns helped rehearse Mme. Charton-Demeur, Berlioz’s Dido in Les Troyens, and the older composer sat as a juror for the Exposition of 1867 when Saint-Saëns won first prize. Boschat reports that Berlioz believed Saint-Saëns to be “one of the greatest musicians of our epoch.” The source of this the author indicates is an “unpublished letter.” He closes the article with the famous story of Saint-Saëns’s final visit to Berlioz. 102. Calvocoressi, Michail Dimitrij. “Camille Saint-Saëns.” Monthly Musical Record 614 (1922): 25–26.The author in this brief entry praises Saint-Saëns for his technical excellence, lucidity, versatility, sense of proportion, and the “perfection of what he achieved within the limits of his outlook.” But he also recognizes the composer’s lack of emotion and profundity. The author believes that Saint-Saëns’s critics may actually have been provoked by the composer’s strong opinions which he asserted consistently. Calvocoressi reconciles Saint-Saëns’s later conservative tendencies with his early support of the more avant-garde as a result of the composer’s belief in the necessity of balance and discipline. 103. Casella, Alfred. “Saint-Saëns et les jeunes.” Le guide du concert 3 (1922): 55.Casella, an Italian composer and pianist who was once a student of Fauré, finds the music of Saint-Saëns and Debussy to be related. He believes that they possess a “charm, clarity, and neatness of form,” and are distinguished from the music of César Franck, with whom Saint-Saëns is often compared. The two pieces which he mentions in the article are Saint-Saëns’s Concerto no. 4 in C minor and Debussy’s Prelude a l’après-midi d’un faune. 104. Catalogue de l’exposition commémorative a l’occasion du cent cinquantième anniversaire de la naissance de Camille Saint-Saëns. Dieppe: Château-Musée de Dieppe, 1985.The author was unable to examine this source. 105. Ceillier, Laurent. “Personnalité et evolution de Saint-Saëns.” Le guide du concert 3 (1922): 29–30.“It is not me that has changed: it is the situation.” This quote from

48 CAMILLE SAINT-SAËNS

Saint-Saëns’s Harmonie et mélodie (#284) forms the crux of this article. The composer never changed on the situation. He never deviated from his style of clarity, neatness, concision, and finesse, according to Ceillier. Saint-Saëns alone crossed the period of 1860 to 1910 without succumbing to the Wagnerian cult. That is not to say his music was not enriched by aspects of Wagner’s style; for that one needs only to hear Ascanio. But he also looked to Bach, Haydn, Beethoven, and Mozart to “augment” his musical personality. Sometimes considered too ahead of his time, sometimes behind, Saint-Saëns always retained a central place when the pendulum swung in extremes. Ceillier points to the cello sonata (1905), La muse et la poète (1909), and La terre promise (1912) as examples of his consistency of style and aesthetic. 106. Ceillier, Rémi. “Saint-Saëns homme de science.” Le guide du concert 3 (1922): 48–50.According to the author, himself a scientist and professor at Stanislas College, neatness, clarity, and precision, the necessary qualities of scientific research, are also characteristics possessed by the composer and amateur scientist, Saint-Saëns. He praises the composer for his better-than-average understanding of various fields of science, and remarks that Saint-Saëns is probably the only musician in the world to have read the writings of Faye and Fizeau. Though Ceillier does not always agree with the composer’s hypotheses and findings, he nevertheless is impressed by his depth of knowledge and organization of information. The author quotes from SaintSaëns’s article “La parenté des plantes et des animaux” wherein the composer believes after having studied species of plants and animals that both evolved following the same laws and are only different by a simple divergence in evolution. While the scientist concedes to a point, he indicates that “parallelism does not imply progeny.” Saint-Saëns’s affection for the sciences led him to witness eclipses in 1905 and 1911, and to nurture a keen interest in geology which began in childhood. 107. Chantovoine, Jean. “Sur Saint-Saëns.” Le ménestrel 88 (1922): 9–11.This article was written less than one month after the composer’s burial. The author divides the work into basically three sections: an introduction in which he praises the composer for his originality, mastery of all musical forms, and the universality of his style. The central section is a discussion of the quality of his music through a brief examination of the composer’s melody, harmony, orchestration, and form. This section is also the most intriguing in that Chantovoine identifies the apparent duality of the composer’s artistic career and points to the contradiction of his support for more avant-garde musical styles, while maintaining a distaste for the total and wholehearted ascribing to schools of musical thought such as “Wagnerism” and “Franckism.” The final portion of the article challenges the accusation that Saint-Saëns was unable to compose “emotional” music, while supporting the composer’s musical style of clarity, neatness, and precision, which brought glory to French music. 108. Chantovoine, Jean. Camille Saint-Saëns. Paris: Richard-Masse, 1947. 126 p. ML 410.S15C36.Chantovoine considers Saint-Saëns to be one of the greatest musicians France has ever produced, besides Berlioz. In this monograph the author praises his style as pure, precise, and moving. While noting his differences from contemporaries such as Gounod, Massenet, and Debussy, Chantovoine nevertheless recognizes SaintSaëns’s contributions to French music. The author believes that musical language was as natural to this composer as his mother tongue, and that he was able to create both poetry and drama eloquently. This biography is basically divided into two main parts: one which discusses his career and his works (with no real analytical

BIOGRAPHICAL STUDIES: SECONDARY SOURCES 49

approach), and the second which addresses the man and his “spirit.” Appendices include a list of principal works, and an interesting discography of a variety of SaintSaëns’s music, such as smaller sacred pieces, larger orchestral works, chamber pieces, and operatic selections. Many pieces are performed by well-known artists including Casals, Piatigorsky, Cortot, Caruso, Louise Homer, and Saint-Saëns himself. 109. Dandelot, Arthur. La vie et l’oeuvre de Saint-Saëns. Paris: Éditions Dandelot, 1930. 297 p. ML 410.S15.D2.Admittedly the author’s goal was to retrace the life of the composer in its entirety and provide a study of his works by means of primary documents such as letters from Gounod and Liszt, and reviews and essays in contemporary periodicals including the Revue et gazette musicale. While this monograph contains copious footnotes, not all quotes are identified. Dandelot relies heavily upon the composer’s own writings in the École buissonière (#282) for biographical material. The book, although not divided into chapters, nevertheless proceeds chronologically with discussions of biography alongside superficial and descriptive analyses of compositions. This study is one of the first attempts at a complete and critial posthumous biography of the composer, and therefore remains a work always at the heart of Saint-Saëns scholarship. There are no helpful appendices, works list, or other materials included in this monograph. 110. Dandelot, Arthur. “Esquisse de la vie de Saint-Saëns.” L’art musical 15 (November 1935): 11–14.This is a brief synopsis of Saint-Saëns’s life and career drawn in part from Dandelot’s other biographical work on the composer. The author quotes much from other sources, but unfortunately does not give any citations. The article is more a factual narrative than a critical examination of the composer’s music and life. In the litany of achievements and important works mentioned, Dandelot discusses neither Saint-Saëns’s writings nor his aesthetic principles. 111. Delage, Roger. “Saint-Saëns humaniste.” L’avant-scène opéra 15 (1978): 90–91.A somewhat misleading title; this article does not examine the composer’s activities and lifestyle which won for him the appellation of “Renaissance man.” However, it is not without keen observations, such as a comparison between Samson and the composer’s symphonic poem Le rout d’Omphale. Both stories are about strong men who abandon themselves to women. How this theme might relate to Saint-Saëns’s own life is unfortunately not explored. The author also mentions Saint-Saëns’s facility to synthesize style elements, but perhaps goes too far in comparing the Bacchanale scene to the can-can, and the duet “Dagon se révèle” to a café-concert. 112. Dumaine, Robert. Les origines normandes de Camille Saint-Saëns. Rouen: ALaines, 1936. 21 p. ML 410.S15.D88.This is a reprint of a speech given at the Académie des Sciences, Belles Lettres et Arts de Rouen. It first traces the composer’s early family in Saint-Aubin-le-Cauf beginning with his great-grandfather, Nicolas, and his grandfather, Jean Nicolas (1757). The author continues to trace the family tree, giving names, dates, and marriages of the family from the eighteenth century through the birth of the composer. Dumaine also offers some basic biography of Camille Saint-Saëns, mentioning his many interests and talents. The author quotes from family letters, especially those of Victor (père) and the abbé Camille (the composer’s uncle and namesake). Dumaine concludes that his musical talents were from his mother’s side of the family, while Camille inherited his love for literature from his father and paternal uncle.

50 CAMILLE SAINT-SAËNS

113. Dupuit, Jean-Sébastien. Un maître de musique a Dieppe: Camille Saint-Saëns. Dieppe: Médiathèque Jean Renoir, 1997. 75 p. ISBN 290742047X. ML 141P1851.S6.This brief monograph was the result of a month of celebrations of the life and music of Saint-Saëns and his association with the city of Dieppe, France. The book includes discussions of the composer’s biography by Yves Gérard, and descriptions of various items in the Saint-Saëns museum by Pierre Ickowicz, the present curator. The 74 specific items mentioned in the catalog all bear witness to the composer’s association with the city, such as various concert programs, presentations, letters, and medals he received. Gérard’s article on the museum hints at the great variety of materials housed in the chateau, including furniture, scores, books, and artworks donated by the composer during the course of his life. Also found in this museum is a collection of more than 15,000 letters, the most substantial compilation of the Saint-Saëns’s correspondence in one place. A brief history of the collection and its curators is offered by M. Ickowicz. At the conclusion of the monograph are concert programs and notes from performances given by the École Nationale de Musique de Dieppe during this celebration. 114. Emmanuel, Maurice. “L’ésthetique de Saint-Saëns.” Le guide de concert 3 (1922): 27.In this article, the author makes three primary points about the composer’s aesthetic. He was not a disciple of any modern school, although he admired many diverse composers including Chopin, Schumann, Wagner, and Liszt. He did not copy anyone else’s style, and he was also not totally a classical composer. According to Emmanuel, Saint-Saëns’s music contains many innovative harmonic progressions and is distinguished by a new use of tonality. Unfortunately, Emmanuel did not substantiate these comments with any specific examples. Finally, he indicates that the composer was not illiterate—a seemingly obvious statement, but the author uses this comment as a way of approaching Saint-Saëns’s diverse interests in music, science, literature, and history. In the course of his article, Emmanuel recounts Wagner’s astonishment at Saint-Saëns’s ability to play the most difficult of orchestral scores from memory, including Tristan. However, he does not cite the source of this much-used quote. 115. Fannière, Edouard. “Camille Saint-Saëns M.D. Mus. (Cantab and Oxon).” Le guide du concert 3 (1922): 25–26.This article relays the British fondness for Saint-Saëns’s music, which led them to offer the composer honorary degrees from Cambridge (along with Grieg, Tchaikovsky, Boïto, and Bruch), and Oxford (with Kipling, Rodin, and Glazunov). This act, the author believed, was also a recognition of French musical culture in general and Saint-Saëns’s style specifically, which is marked by classical elements agreeable to British ears. Fannière supports the composer’s remark that despite what he had heard, England produced fine musicians and admirable choristers. 116. Fauré, Gabriel. “Camille Saint-Saëns.” La revue musicale 2 (1922): 97–100. ISSN 0035–3736.This brief tribute reaffirms what others have said, but from the point of view of a dedicated student and friend. Fauré attests to Saint-Saëns’s commitment to contemporary music as well as the classics of Mozart. He also notes how this “complete musician” and Renaissance man was not influenced by the fads and fleeting tastes of the time for theatrical music, but rather concentrated his efforts in the development of the Société Nationale, which supported the pure forms of music. 117. Freuhwald, Scott. “Saint-Saëns’s View on Music and Musicians.” International Review of the Aesthetics and Sociology of Music 15 (1984): 159–74. ISSN 0351–

BIOGRAPHICAL STUDIES: SECONDARY SOURCES 51

5796.According to the author himself, this very insightful article examines the writings of Saint-Saëns that concern music and “attempt[s] to place his ideas in the context of nineteenth-century thought, and show how his ideas are mirrored in his own music.” Freuhwald draws upon various collections of writings by the composer, namely Harmonie et mélodie (#284), Problemes et mystères (#290), École buissoniere (#282), Au courant de la vie (#278), and Germanophilie (#283). SaintSaëns’s views on opera, early music, and composers of previous generations (such as Bach, Haydn, Mozart, and Beethoven), as well as his opinions on modern music and its composers (including Berlioz, Gounod, Liszt, and Wagner) are examined. The author quotes extensively from the sources mentioned above as evidence of SaintSaëns’s evaluations and opinions. It is an informative article which offers a glimpse of the composer’s feelings and appreciations of the art of music in his own words. 118. Ganache, Edouard. “Camille Saint-Saëns: Portrait.” Le guide du concert 3 (1922): 6.This brief article is a description of the composer’s physical attributes and qualities of his personality. The author also offers very general comments about his musical and intellectual capacity. 119. Gérard, Yves. Saint-Saëns and the Problem of Nineteenth-Century French Music, Seen through the Saint-Saëns Archives. Ms., unpublished and undated.The author was unable to examine this source. 120. Gigout, Eugène. “Saint-Saëns a l’École Niedermeyer.” Le guide du concert 3 (1922): 7–8.Organist Eugène Gigout fondly remembers Saint-Saëns as his teacher. He praises the composer’s technique, purity of performance, quality of sound, and phrasing. Saint-Saëns was very well liked by the students, who found in him a “friend of the heart.” He remembers exercises which Saint-Saëns assigned, such as composing a cadenza to Beethoven’s C minor Concerto, and orchestrating the op. 106 sonata. Gigout also speaks highly of the composer’s ability to improvise as being “without equal.” Gigout remembers dinners with Fauré and Périlhou at Saint-Saëns’s as a reward for good work, and the composer’s fun-loving humor as he participated in the evening’s comic musicales. Above all Saint-Saëns remained a faithful friend to Gigout. 121. Hanschin, Jacques. Camille Saint-Saëns. Zürich: Orell Füssli, 1930. 33 p. ML 5.N48 no. 118.Swiss musicologist Jacques Hanschin is chiefly acknowledged for his contributions to the research of medieval music, especially the repertoire of St. Martial and Notre Dame, as well as for his pioneering studies in systematic musicology. This monograph on the life and works of Saint-Saëns was inspired by the author’s own past experiences as an organist with great regard for the composer’s works and first-hand knowledge of Saint-Saëns’s virtuoso performance abilities. The lengthy essay is organized in three sections. Part one presents an overview of SaintSaëns’s life and career. It begins with an account of the composer’s family background, with an interest in disproving that Saint-Saëns was of Jewish origin. Little new information is revealed concerning the composer’s biography. The early compositions are discussed in relation to the classical heritage of Haydn and Mozart. Throughout Hanschin views Saint-Saëns as a leading French exponent of absolute music, along with Franck and the German composers Brahms and Bruckner. He considers Saint-Saëns’s meeting with Liszt as influential, and offers a sizable account of the Saint-Saëns’s relationship with Wagner. He also traces the aesthetic and philosophical parting between the two. In this section the author also addresses Saint-Saëns’s operatic works in chronological order, drawing comparison with the

52 CAMILLE SAINT-SAËNS

works of Berlioz, Wagner, and Massenet. Acknowledging Saint-Saëns’s place in the history of dramatic music, the second part examines the composer’s sacred and instrumental music. A brief reconsideration of Saint-Saëns’s relationship with the church and religion also points to a dichotomy that exists between his sacred works and those grounded in exoticism, antiquity, and mythology. Only a cursory glance is given to the oratorios and cantatas. The instrumental works are discussed in the following order: program music, the concertos, chamber music, and the symphonies. The third part, though introduced as a “personality study,” presents more of a reception history of the composer’s style, especially in relation to Classicism, late Romanticism, and French music-making of the nineteenth century. Despite connections to the music of Bach and Mozart, Hanschin views Saint-Saëns as a “specifically French artist.” However, he takes some issue with commonly held opinions that Saint-Saëns’s style is “matter-of-fact, dry, and superficial,” preferring to see it as “sober.” Hanschin believes that given the diversity of musical styles present at the time of writing, there is a significant place for Saint-Saëns in “European intellectual life.” 122. Harding, James. Saint-Saëns and His Circle. London: Chapman and Hall, 1965. 255 p. ML 410.S15.H2.This biography of the composer is in relation to his colleagues, friends, and students. The author chronicles aspects of Saint-Saëns’s career as child prodigy, composer, and teacher. While accounts of the genesis and performances of works are given, this is first and foremost a biography and does not offer analytical or interpretive information to the reader. It is important to note that this monograph is not without error and many of its inaccuracies have been addressed and challenged by Stegemann in his study of the concerted works of SaintSaëns entitled Camille Saint-Saëns und das französische Solokonzert von 1850 bis 1920 (#251). 123. Klein, Hermann. “Saint-Saëns as I Knew Him.” Musical Times 63 (1922): 91–93. ISSN 0027–4666.The author gives some personal impressions of the composer from the time of their first meeting until their last in 1920. Klein describes Saint-Saëns and his music as being “original,” and offers many insights on the composer’s personality and character. These accounts attest to his enigmatic character: at once witty and gregarious, then cold and aloof; at once gentle and kind, then mean and pointed. The author also shares Saint-Saëns’s views of Debussy (whom he at one time thought talented and original), Fauré, d’Indy, Bruneau, and Pierné. 124. Koechlin, Charles. “A propos de Camille Saint-Saëns “ La pensée 10 (1949): 27–34. ISSN 0031–4773.Koechlin, a student of Fauré, examines the personality and music of Saint-Saëns. He testifies to the composer’s generosity, good humor, and charm despite the many examples to the contrary given by others. In defense of SaintSaëns’s anti-Wagnerian stance, he reminds the reader that the master was not the only famous Frenchman to speak out against Wagner; so did Debussy and Milhaud. Interestingly, Koechlin recognizes the dichotomy of the composer’s personality and aesthetics. He did not believe Saint-Saëns was as “dry” as others did, nor as egotistical. However, he feels that he did make some “errors” in the aesthetics of his art: his desire for “perfection of form,” and his belief that feeling was the mark of “less than great beauty” in music. The author quotes Saint-Saëns as saying that “feeling is a sign of decadence.” This idea, Koechlin believes, makes him a precursor of Stravinsky. While admitting that Saint-Saëns’s music is not as popular as it once was, he recognizes the composer’s great influence upon modern French music. He says:

BIOGRAPHICAL STUDIES: SECONDARY SOURCES 53

“Saint-Saëns is less confusing than Debussy, and less profound; less liked than Fauré, less of a rebel than Roussel.” But Ravel learned orchestration, balance, clarity, logic, and grace from the master. Saint-Saëns was in many ways the man who planted the seed for succeeding generations of French musicians. Ironically, he was a unique voice in music of the late nineteenth and early twentieth centuries by remaining true to himself. He did not change with successive musical styles and schools; therefore by being consistent and steady, he was a “nonconformist,” which was what so many avant-garde composers desired to be. 125. Lacroux, Jean. “Camille Saint-Saëns, amateur d’astronomie.” Cahiers Ivan Tourguéniev-Pauline Viardot-Maria Malibran 9 (1985): 126–28. ISSN 0399– 1326.This article was written by the editor of a scientific journal, Ciel et espace, and briefly chronicles Saint-Saëns’s friendship with the nineteenth-century astronomer and scientist Camille Flammarion. The author describes their mutual admiration for each other’s science—Saint-Saëns for astronomy, and Flammarion for music, more specifically the organ. (The latter was a choirboy at the Langres cathedral in his youth.) Especially informative regarding Flammarion’s career, Lacroux also divulges that there is an archive at the Observatoire de Juvisy containing letters from SaintSaëns to Flammarion which at the time of the article had not been explored. Also interesting is the author’s description of the Fêtes du Soleil organized around the Eiffel Tower which celebrated the summer solstice with music and poetry, and in which Saint-Saëns and Flammarion participated. 126. Lalo, Pierre. “Camille Saint-Saëns.” In De Rameau a Ravel p. 94–101. Paris: Albin Michel, 1947. ML385.Lalo shares many of his memories of Saint-Saëns, who was a family friend. Some of these stories are rather negative, such as the composer’s determination to speak ill of Debussy’s Pelléas, and others show a more tender and amusing side, such as Saint-Saëns’s well-known impersonation of Madame Carvalho’s Marguerite. However, Lalo insists that this perhaps unsettling dichotomy is part of the composer’s personality. The author describes Saint-Saëns’s music as a “perpetual mixture of quality and faults.” While praising his clear, precise, and ordered style, Lalo indicates that his elegant and brilliant music often lacks emotion, and that his melodies are not always significant nor very striking, although SaintSaëns is a master at handling themes. A respected and appreciated composer by both the public and fellow musicians, according to the author, Saint-Saëns remains the gran d homme of French music, and in the fullest sense of the term, a great musician. 127. Lay, Jacques. “La maison de Camille Saint-Saëns a Louveciennes.” Cahiers Ivan Tourguéniev-Pauline Viardot-Maria Malibran 9 (1985): 125. ISSN 0399–1326.This one-page article confirms Saint-Saëns’s regular visits to Louvenciennes between 1865 and 1870, and offers a sketch by Georges Regnault of the house in which he regularly stayed. 128. LeBoucher, Maurice. “Souvenirs de Saint-Saëns: La musique symphonique, la musique de chambre, la musique d’orgue.” L’art musical (November 1935): 7–8.Recognizing that symphonic and chamber music play an important role in the composer’s oeuvre, the author praises Saint-Saëns for the “diversity of his work.” Works he mentions specifically are the “Organ” Symphony (a “monument of contemporary music”), and the symphonic poems (which allow the listener to use his imagination). LeBoucher believes that the strength of the symphonic poems is in the substance of their music, the perfection of their form, and the richness of their orchestration. The chamber music he singles out for special mention includes the

54 CAMILLE SAINT-SAËNS

Morceau de Concert for horn, the Romance for flute and orchestra, the first Sonata for Violin and Piano, and the sonatas for cello and piano. In these works, the author praises the composer for his ingenuity of writing and his knowledge of the equilibrium of the instruments. As an organist, Saint-Saëns impressed LeBoucher most by his Six Preludes and Fugues dedicated to his students, the Rhapsodies sur des cantiques bretons, the Fantasie (which one he does not say), and the Marche nuptiale. He shares with the reader a story of Saint-Saëns overhearing him play one of his fugues. When he found out the composer was in the church listening, he fell apart. However, Saint-Saëns encouraged him to begin again, and then complimented him on the fact that he had played it from memory, something which Saint-Saëns exclaimed made him “jealous.” 129. Lyle, Watson. Camille Saint-Saëns, His Life, His Art. New York: Kegan Paul, Trench, Trubner, 1923. 210 p. ISBN 0837142660. ML 410.S15 L9.This monograph is divided into three parts. Its first section begins with a discussion of Saint-Saëns’s childhood and education as a musician with Stamaty and Maleden, and at the Conservatoire. It also chronicles his career beginning with his tenure at St. Merry and the influential people of his life. Also mentioned are his works as a writer and his travels which helped to shape him as a composer. In the second section of the book Lyle praises the composer’s versatility and inherent genius as qualities which made Saint-Saëns’s music appealing. He also believes the composer’s music to be wellbalanced, colorful, classical, and not obtuse. According to the author, his “most individual” works belong to the realm of absolute music, such as the C minor Symphony, the Piano Trio in F major, the A minor Cello Concerto, and the piano concerti nos. 2 and 4. In this section, Lyle also discusses how Saint-Saëns’s social life and his circle of friends affected him and formed him as a man and musician. The final section of the monograph is a discussion of selected compositions which are examined in a descriptive manner with limited technical commentary. All too often Lyle compares Saint-Saëns’s music to others (Mozart, Beethoven, Brahms, Liszt, etc.). In the discussion of the dramatic works, the author often relies too heavily upon retelling the plot of the work, rather than offering an insightful or critical appreciation of the work. The appendix is an incomplete listing of SaintSaëns’s compositions and literary works which is not without error. 130. Ménétrier, Alexandre. “Saint-Saëns: Un musicien de la troisième république.” L’avant-scène opéra 15 (1978): 14–16.This is a brief biography with insightful observations which places Saint-Saëns in a similar situation with composers such as Monteverdi, Haydn, Beethoven, and Stravinsky: those whose music encompasses more than one era of music history. The author offers examples of just how diverse and stylistically all-encompassing Saint-Saëns’s music really is. Included is a copy of P.Renouard’s sketch of the composer and a list of his 12 operas. 131. Paquette, Daniel. “Saint-Saëns et notre époque.” Revue musicale suisse 112 (1972): 290–93. ISSN 0036–7710.The title of this article may mislead readers who believe it, or hope it, to be a vindication of the composer. But while the author takes a positive stance on the musical contributions of Saint-Saëns, it is actually only an appreciation of the composer, who still at the time it was written (1972) was undervalued. The author points to the composer’s diversity of interests and accomplishments from composition, to musicology and ethnomusicology. Paquette quotes a great deal from Saint-Saëns’s own writings, but never gives any citations for the sources. He believes Saint-Saëns to be a more contemporary, twentieth-

BIOGRAPHICAL STUDIES: SECONDARY SOURCES 55

century spirit because of his comment that for artistic peoples, the most useful and humble objects must have style; art should not be viewed as something from on high. 132. Périchard, Gaston. “Liszt et Saint-Saëns.” Le guide du concert 3 (1922): 54.This article is a brief explanation of why the author believed that Saint-Saëns greatly admired Liszt. Quoting some of Saint-Saëns’s own words from Portraits et souvenirs (#289), Harmonie et mélodie (#284), and Au courant de la vie (#278), he points to Liszt’s honesty, forthrightness, generosity, and “greatness of spirit” as the qualities that endeared him to Saint-Saëns. The author also quotes Saint-Saëns’s insightful comment that Liszt’s influence upon piano music was equal to Victor Hugo’s influence upon the French language. Périchard does not offer any citations of these primary sources. 133. Prod’homme, J.G. “Camille Saint-Saëns.” Rivista musicale italiana 29 (1922): 129–48.A posthumous tribute, this article celebrates the composer’s life and career and highlights accounts of his great works, the founding of the Société Nationale de Musique, Saint-Saëns’s views of the importance of musical form, and his more “classical” approach to composition. There is also a discussion of his writings, philosophy, and interest in science, in addition to his fondness for travel, which may have been as much to escape personal tragedies in Paris as for his health. The author quotes from several more contemporary articles and the composer’s own writings, some of which are not documented. The appreciation concludes with an excerpt from Alfred Bruneau’s funeral tribute extolling Saint-Saëns as one of the great classics who was able to compose “in all genres of music with equal superiority.” 134. Prod’homme, J.G. “Camille Saint-Saëns.” Trans. Frederick H.Martens. Musical Quarterly 8 (1922): 469–86. ISSN 0027–4631.Written within one year of the composer’s death, this is one of the early posthumous accounts of Saint-Saëns. The author recounts the composer’s lack of acceptance as an opera composer, but rather finding his niche as a composer of absolute music, and co-founding of the Société Nationale de Musique. Prod’homme discusses Saint-Saëns the classicist, the musicianscholar, the author, and even the amateur scientist. One interesting footnote is the result of a handwriting analysis on Saint-Saëns performed by M. Vauzanges. The author quotes from an article by Widor (which the present author was unable to obtain) on Saint-Saëns, published in Le Galois immediately after his death, which offers insights into the composer’s personality and temperament. The article concludes with a moving quote from Alfred Bruneau’s funeral oration for SaintSaëns. 135. Prod’homme, J.G. “Les origines Dieppoises de Saint-Saëns.” Le guide du concert 3 (1922): 4–6.According to the author, Ambroise Millet, the first conservator of the Saint-Saëns museum, began an investigation of the composer’s genealogy, and found the small town near Dieppe, Sanctus Sidonius (in the original Latin), from which the family name derived. Millet discovered the family to be primarily farmers, and traced ancestors back before the Revolution to the tiny village of Rouxmesnil. The grandfather, Nicolas, was mayor of his village during the First Empire before retiring to Arques. Other relatives were scattered through the area, including Saint-Aubinsur-Mer, and other family names include Blondel, Breton, Auzou, and Letellier. The composer’s father, Victor, was in Paris prior to 1823 and worked for the minister of the interior. Correspondence between Victor and his family in the Dieppe area exists

56 CAMILLE SAINT-SAËNS

in the museum. Especially interesting are letters regarding his marriage to Clémence Collin and the birth of their son, Charles Camille. 136. Ratner, Sabina Teller. “Camille Saint-Saëns: Fauré’s Mentor.” In Regarding Fauré, trans. and ed. Tom Gordon, p. 119–44. Amsterdam: Gordon and Breach, 1999. ISBN 9057–005492. ML 410.F27 R44.Following an introduction, this article is divided into these seven sections: Education of Saint-Saëns, Saint-Saëns’ Career, SaintSaëns’ Pedagogical Compositions, Saint-Saëns’ Students, Saint-Saëns and Gabriel Fauré, Société Nationale, and Conclusions. This offering is a wonderful exploration of the composer. Ratner examines his education as a means of understanding his thinking. She discusses his official and unofficial career as an educator not only in the classroom but as a private teacher, and as a writer on musical issues pertaining to education. Also cited are the various piano compositions he wrote for teaching purposes and those composed as examination pieces. Her discussion of Saint-Saëns and Fauré demonstrates the paternal solicitude and professional support which the senior composer always gave his pupil, and his help through the Société Nationale in premiering some of Fauré’s music. The author draws upon many letters and other important documents for this fine investigation. 137. Ratner, Sabina Teller. “Saint-Saëns’s Self-Borrowings.” In Échos de France et d’Italie: Liber amicorum Yves Gérard, ed. Marie-Claire Mussat, Jean Mongrédien and Jean-Michel Nectoux, p. 243–56. Paris: Société Française de Musicologie, 1997. 397 p. ML 55.E24. ISBN 2283–017122.This is a fascinating study of the composer’s methods of self-borrowing. The author identifies seven categories which describe Saint-Saëns’s self-borrowing procedures. The first, simplest and most frequent, includes the numerous arrangements of his own works; second, he might insert an independent composition into a multi-movement work (such as the Symphony in A major and the Caprice Brillant). Next there are the pieces which he “converted” from one medium into another with new instrumentation and musical form, such as the Antwort for piano solo from 1866 which became the Fantasie, op. 124 for harp and flute. Saint-Saëns also “extracted movements from one composition, renaming them and sometimes refashioning them to serve another purpose.” The author notes “another technique used by Saint-Saëns included the incorporation of melodic material of one composition into other musical creations of related subjects or themes.” His earlier, unpublished compositions provided material for later compositions, as is the case for many composers. And finally Saint-Saëns “returned to several known, published works to rework and re-edit them into compositions for new ensembles.” After identifying these important categories, the author explains each more fully and offers clear examples of each. This is a very important study on a subject which has received extremely little discussion to date. 138. Ratner, Sabina Teller. “Richard Wagner and Camille Saint-Saëns.” Opera Quarterly 1.3 (1983): 110–113. ISSN 0736–0053.This article examines the complicated relationship between Wagner and Saint-Saëns, at the center of which stands Liszt. The author chronicles the ties each composer had to Liszt, and through the use of Cosima’s diaries, Saint-Saëns’s writings, and letters of Liszt, she details the roles that each played in the other’s life. One of the main points addressed is Saint-Saëns’s disgust with Wagner’s attack on French culture in his Une capitulation, and SaintSaëns’s consequent patriotic as well as artistic reaction. Despite trying to have German music banned during World War I in an attempt to promote contemporary

BIOGRAPHICAL STUDIES: SECONDARY SOURCES 57

French composers and thwart what he viewed as German plot to erode French patriotism, Saint-Saëns was admittedly careful not to confuse nationalism with art. 139. Rees, Brian. Camille Saint-Saëns: A Life. London: Chatto and Windus, 1999. 485 p. ISBN 1856197735. ML 410.S15 R5.One of the two most recent biographies of SaintSaëns, this is a pleasant and interesting read; however, unfortunately almost totally without documentation from primary and other secondary sources. The author obviously borrows from pre-existing material (journal articles, and the like) but gives absolutely no citation of the sources. This is not only frustrating to the reader, but later in the monograph, events in the composer’s life are mentioned in such quick succession that one is given the impression that the author wants to bring the book to an end quickly. Despite these observations, the book is nevertheless a welcome addition to the present limited scholarship on the composer, and offers an admirable account of Saint-Saëns’s life and career. The author proceeds in the usual chronological order with superficial discussions of Saint-Saëns’s music at appropriate times. 140. Rolland, Romain. “Camille Saint-Saëns.” In Romain Rolland’s Essays on Music, 362–71. New York: Allen, Towne and Heath, 1922. ML 60.R72.In this appreciation of Saint-Saëns’s career, the author believes that the composer’s music contains “a great classical spirit and fine breadth of musical culture—German culture…since the foundation of all modern art rests on the German classics.” This Rolland no doubt feels because of Saint-Saëns’s close association with the music of Bach, Mozart, and Beethoven. The author also compares the composer with Voltaire because of his clarity of thought, elegance and precision of expression, while in a purely musical style, he finds parallels between Saint-Saëns and Mendelssohn. Above all, Rolland, who was so concerned with what he believed was the “state of decay” in society and the “troubled art” of the day during the time of his writing, finds Saint-Saëns’s music to be calm, possessing tranquil harmonies, velvety modulations, crystal clearness, and an elegance that cannot be put into words. While some critics hasten to accuse Saint-Saëns of copying the classical style at times, the author more aptly indicates that the composer is more “spiritually akin” to these other composers, and not a mere imitator. 141. Sachs, Leo. “Souvenirs de Saint-Saëns.” La revue musicale 2 (1922): 191–92. ISSN 0035–3736.In this article the author recounts his meeting with Saint-Saëns in 1910 for the Exposition of Art in Munich. Sachs was helping to organize a festival of contemporary French music and shares with the reader Saint-Saëns’s impressions of the music which was suggested. When it was mentioned that Franck’s Beatitudes had been selected, but it would be impossible to play the entire work, Saint-Saëns is reported to have exclaimed, “So much the better, one will be bored a little less.” His feelings about the performance of Fauré’s Requiem were much more positive. He is quoted as having said that the “Pie Jesu” is “absolutely exquisite.” At the suggestion of performing his own “Organ” Symphony, Franck’s Symphony in D minor, and d’Indy’s Symphonie sur un theme montagnard on the same concert, Saint-Saëns replied that such a move would be like having a dinner composed of three meats. Saint-Saëns suggested that the music of Theodore Dubois not be omitted from this festival of contemporary French music. An interesting aside is Saint-Saëns’s comment that Beethoven, the “great man,” had “killed” the solo piano sonata. This may explain why Saint-Saëns never wrote one.

58 CAMILLE SAINT-SAËNS

142. Servières, Georges. Saint-Saëns. Paris: Alcan, 1923. 207 p. ML 410.S15C3.This monograph is divided into the following sections: “La vie,” which deals with SaintSaëns’s biography and career, and mentions (without analysis) many of his compositions chronologically; and “Le musicien,” which chronicles his musical education and studies. At this point the author divides Saint-Saëns’s works into three periods: (1) youth, 1852–1870; (2) the period when his talents were “affirmed by the public in concerts and at the theatre, concluding the nineteenth century”; and (3) the last “20 or 25 years of his life.” It was during this time that, according to the author, Saint-Saëns wrote some “interesting pieces”; however, this period “does not mark any evolution in his aesthetic nor his procedure.” This final section includes a discussion of his career as a pianist and organist, and is further subdivided into sections which discuss Saint-Saëns’s music by genre with limited analysis of specific works. The author finds Saint-Saëns’s music to be original and to possess a “musical superiority” which will make it “classic” long after the composer’s death. The appendix to the book includes a listing of his musical works by genre and then chronologically as well as a bibliography of Saint-Saëns’s literary works. 143. Servières, Georges. “L’amitié de Liszt et de Saint-Saëns.” Le ménestrel 28 (1922): 297–99.This article is a brief chronicle of Saint-Saëns’s relationship with Liszt beginning in 1862. Servières proceeds with an almost yearly account of their correspondence, meetings, and mutual activities, as he demonstrates that their friendship was far-reaching and intense. Liszt had a greater interest in Saint-Saëns’s music than just Samson et Dalila, for according to the author, Liszt rarely spoke of the work after its premiere. Servières also documents Saint-Saëns’s attempt to introduce and popularize Liszt’s music in France, oftentimes with limited success. 144. Servières, Georges. “Le ‘wagnérisme’ de Saint-Saëns.” Rivista musicale italiana 30 (1923): 223–44.The author begins by chronicling the relationship and mutual respect of Wagner and Saint-Saëns up to the falling out over Wagner’s Capitulation. Sevières points out that many of Saint-Saëns’s actions are inconsistent with his anti-German stance, namely, his concertizing in Germany, and his composition inspired by a ballad of Heine, König Harald, which he dedicated to the Countess de Schleinitz. The author also mentions that Saint-Saëns received the Prussian Order of Merit, which he fails to say the composer gave up at the beginning of World War I. All in all, the author finds Saint-Saëns to be “Wagnerian,” but in a conditional and timorous fashion. 145. Sizes, Gabriel. “Saint-Saëns acousticien.” Le guide du concert 3 (1922): 51.This is a brief article in which the author indicates that in 1881 Saint-Saëns, through interest and research in the sounds of bells, deduced that bells have only harmonics and not fundamentals. The author of the article found this interesting and, along with the composer, continued research on the hypothesis. Thanks to Saint-Saëns’s “method of deduction, based upon the perceptible harmonics” the author was able to “formulate a law of vibration that applies itself to all the sonorous bodies observed.” 146. Stegemann, Michael. “Camille Saint-Saëns und Deutschland.” Melos/Neue Zeitschrift für Musik 4 (l916): 267–70. ISSN 0343–0138.According to the author himself, “Saint-Saëns’s image has been distorted both in Germany and France because of his alleged political activities during the Franco-Prussian War and World War I.” He continues to say that “contemporary documents merely indicate that Saint-Saëns’s attitude toward German music, particularly that of Wagner, was made into a political issue because it was useful in the agitation against France. Saint-

BIOGRAPHICAL STUDIES: SECONDARY SOURCES 59

Saëns’s legitimate worry—that Wagner could hinder the independent development of French music—was interpreted as a rejection of Germany in general, and the fact that the composer placed works of Schumann, Beethoven, and Mozart on his programs was completely overlooked.” 147. Stegemann, Michael. “Der Mord als schöne Kunst betracht: Camille Saint-Saëns und die Anfänge der Filmmusik.” Melos/Neue Zeitschrift für Musik 10 (1985): 8–14. ISSN 0343–0138.In this article, Stegemann offers a discussion of the actual, historical Duc de Guise, an explanation of the genesis of the film project of Henri Lavedans, a description of the script (or more appropriately, the sequence of events), and a discussion of Saint-Saëns’s score. According to the author, the film project had the support of various new artistic organizations in the fledgling film industry, and important “stars” such as Charles Le Bargy from the Comédie Française were engaged to act. Stegemann also gives the reader the six-part story sequence, which uniquely lists the color scheme of each of the scenarios as well. The information on Saint-Saëns’s score, the first film score ever written, is very interesting. It is actually a theme and variations for a chamber group consisting of piano, harmonium, flute, oboe, clarinet, bassoon, horn, and string quintet. Beginning with a theme which represents the Duke, Stegemann gives various musical examples from the score with corresponding still photos from the film. He demonstrates how the composer manipulated the theme to fit each section. Saint-Saëns titled each section to indicate its analogous film sequence. This article is valuable not only for its discussion, but for the five still photos and many musical examples of this unique collaboration. 148. Stegemann, Michael. “Attizisimus und Modernität: Camille Saint-Saëns und die Wiederbelebung der Alten Musik.” In Altemusik als ästhetische Gegenwart: Kongressbericht des Internationalen Musikvissenschaftlichen Kongresses Stuttgart 1985, v. 2, p. 245–50. Kassel, 1987. ISBN 3761–807678. ML 36.I629 1987.This brief article addresses Saint-Saëns’s desire to revive traditions of earlier French music. The author cites the composer’s interest in the music of Gluck, Rameau, and others in the French clavecin school. According to Stefan Haack, Saint-Saëns wanted to restore “material and form as the absolute values,” while Debussy “sought national independence in music.” 149. Stegemann, Michael. Camille Saint-Saëns: Mit Selbstzeugnisses und Bilddokumenten. Hamburg: Rowohlt Tashenbuch, 1988. 155 p. ISBN 3499503891. ML 410.S13S82. This first real modern biography of the composer is divided into two primary sections: life and works. Within the section dedicated to biography, the author discusses Saint-Saëns the child prodigy, the “classicist,” the “reactionary,” and his contributions to Ars Gallica and the Société Nationale. The second portion of the book, dedicated to the composer’s works, is organized according to genre. Here the author identifies Gluck as an influence upon Saint-Saëns’s dramatic music, and Liszt upon his symphonic scores. Stegemann concludes that revolutionary or reactionary, the composer’s works can stand on their own. Scrupulously documented (with over 300 footnotes), the work also includes a very fine bibliography which unfortunately does not always offer page numbers for articles. There is also a helpful time line and works list. While Stegemann does not dedicate a portion of the book to Saint-Saëns’s writings, he does quote from them with frequency in German translation. Another of the excellent features of this monograph is the variety and number of pictures not only of the composer and his circle, but of places, vignettes, and people.

60 CAMILLE SAINT-SAËNS

150. Stegemann, Michael. “Camille Saint-Saëns, Germanophilie: Hintergründe einer musickpolitischen Affäre.” In Échos de France et d’Italie: Liber amicorum Yves Gérard, ed. Marie-Claire Mussat, Jean Mongrédien and Jean-Michel Nectoux, p. 257–68. Paris: Société Française de Musicologie, 1997. 397 p. ML 55.E24. ISBN 2283–017122.Saint-Saëns’s monograph Germanophilie (#283) of 1916 was taken in part from a series of articles previously published in the press. Stegemann discusses “the aesthetic and ideological background” of this work with an emphasis upon the “reactions of the contemporary French press,” and bringing together the ideas of Saint-Saëns and other French artists of the time, “especially with respect to the questions of Wagnerism in France during the World War I.” 151. Stevenson, Robert. “Saint-Saëns’s View on the Performance of Early Music.” Performance Practice Review 1–2 (1988): 126–32. ISSN 1044–1638.This brief article provides an introduction to a lecture on the performance of “ancient” music given by Saint-Saëns during his trip to San Francisco in 1915 for the Panama-Pacific International Exposition. Several interesting points are made by the composer about the relative size of Bach’s orchestra for the St. Matthew Passion, about the tempo and style of performing Palestrina, and the use of the pedal in the piano music of Mozart. Also worthy of note are his observations about the use of pedal and rubato in the piano music of Chopin, and the abuse of tremolo by both singers and instrumentalists. A complete copy of this lecture is housed in the San Francisco Public Library. 152. Studd, Stephen. Saint-Saëns: A Critical Biography. London: Cygnus Arts, 1999. 356 p. ISBN 0838–638422. ML 410.S15.S78.One of the most recent biographies on the composer, this monograph traces the developmental periods, varied career, and reception of the music Saint-Saëns. The dichotomy of his love-hate relationship with Wagner (and his music), as well as his relationships with Liszt, Gounod, Bizet, Franck, and others are examined. In addition, his struggles to be successful in the theater, and his increasing fame (and at times infamy) as a symphonic and chamber composer is chronicled. Analysis of the music is at times superficial, and consistently descriptive. Valuable appendices include selected essays written by the composer from two important collections already found in English translation: Outspoken Essays on Music (#288) and Musical Memories (#286); and four selected poems by Saint-Saëns, three of which are from the Rîmes familières (#291) and one from Dandelot’s monograph La vie et l’oeuvre de Saint-Saëns (#109). Copiously documented with endnotes, the work relies heavily upon secondary sources and Saint-Saëns’s own writings. 153. Thiel, Wolfgang. “Pariser Filmmusik-Premiere anno 1908.” Musik und Gesellschaft 28 (1978): 712–13. ISSN 0027–4755.This is a brief examination of the music composed by Saint-Saëns for the film L’assassinat du duc de Guise. The author asserts that the composer’s “composition stays within the frame of traditional incidental music for play s and does not attempt to come to terms aesthetically with the modern film.” 154. Vauzanges, Louis M. “L’écriture de Camille Saint-Saëns.” Le guide du concert 3 (l922): 19.According to the editor of Le guide du concert, these reflections on the composer’s handwriting are a part of his monograph, L’écriture des musiciens célèbres. The author indicates that Saint-Saëns possesses many characteristics in common with other great musicians—Weber, Berlioz, and Reyer. His writing is clear, neat, graceful, slanting to the right. Interestingly, these are the same adjectives

BIOGRAPHICAL STUDIES: SECONDARY SOURCES 61

that are used to describe his music. Vauzanges believes the composer’s penmanship indicates that he is “an intelligence of the first order, very lucid, very open,” though while it is extremely smooth, it “juxtaposes abnormal liaisons between words and between punctuation.” Perhaps an allusion to the composer’s suspected homosexual tendencies? From his writing, the author can tell that Saint-Saëns has a goodness of nature, with some nervousness, and irritability. He has a loyal and sincere soul, and considering that his signature is the same size as his text, Vauzanges infers that SaintSaëns is not egotistical. Many of the personal traits which the author of this article uses to describe the composer are by no means new; friends and fellow musicians had mentioned them before. 155. Viardot, Paul. “Saint-Saëns gai.” Le guide du concert 3 (1922): 13–14.Written by singer Pauline Viardot’s son, who was, even as a child, a friend of the composer, this article describes some of the light-hearted intimate soirées held at the Viardot house on Sunday evenings. At these gatherings Saint-Saëns would often dress in drag and sing selections from Faust (Gounod), and Armide (Gluck), mimicking Mme. Carvalho and Adelaide Patti while Pauline Viardot accompanied him on the piano. On other occasions, he would dance sequences from Robert le diable as Fauré and others have reported. These evenings were quite different from the Friday evening gatherings, which were more serious, and at which Saint-Saëns would usually preside at the organ and piano to accompany Pauline. This article contains two valuable primary sources: one is a reconstruction of a humorous song text which Saint-Saëns improvised at one of these soirées; and the other is a letter of December 27, 1904 to Paul Viardot, written in verse after a maritime voyage they took.

4 Other Primary Sources Prior to 1921

156. Busoni, Ferruccio. “Reminiscences of Saint-Saëns.” In The Essence of Music and Other Papers, trans. Rosamond Ley, p. 170–73. New York: Dover, 1957. ISBN 0486–254208. ML60.B9673.Originally published in the Vossische Zeitung in December 1921, this brief article is a tribute to the composer at the time of his death. Busoni considered Saint-Saëns to be the last in the line of the Mozart school which included Rossini, Cherubini, Mendelssohn, Gounod, and Bizet. However, unlike these composers, he was originally known as a great pianist and organist, which stood in the way of his career as a composer early on, much like Liszt. He praises Saint-Saëns for being “well-rounded” as a musician, and technically proficient as a composer. Busoni, having known the composer, offers a couple of anecdotes about him. 157. Castéra, R.de. “Les variations de Monsieur Saint-Saëns.” L’Occident 3 (1903): 187–91.The author takes Saint-Saëns to task for his comments on the performance of early music, namely Bach and Handel. He admonishes the composer for indicating that because modern instruments and musical sensibilities are different, we can only attempt to realize Baroque music accurately. Castéra points to an inconsistency in Saint-Saëns’s argument where he stated that Handel was able to compose a concerto for harp or organ the solo part of which could be played by either instrument, while at the same time complaining that Bach’s music could not really be played by contemporary artists because of the lack of authentic instruments. Castéra also reminds the reader of the wonderful performances of early music at the Conservatoire de Bruxelles by Gevaert and by others in Paris as proof that it was possible. The complexities and thorny issues dealing with the authentic performance of Baroque music are perhaps better understood by today’s audiences and musicians than by Saint-Saëns’s contemporaries, for whom this aesthetic was new at the time. As Saint-Saëns indicated during his time, there was more to it than merely reducing the size of the orchestra and reorchestrating for certain instruments. This shows that in many ways Saint-Saëns was actually ahead of his time in this issue. 158. Catalogue du Musée de Dieppe: Archéologie, histoire locale, beaux-arts, Musée Saint-Saëns, histoire naturelle. Dieppe, 1904. General Collection 14.E.55.In 1904 the first catalogue général of the collection was issued by Ambroise Millet, the collections’s first conservator, and lists various documents (letters, invitations, concert programs), books, scores, manuscripts, objets d’art, furniture, and photographs. Following the death of Saint-Saëns in 1921, his secretary Jean Bonnerot

OTHER PRIMARY SOURCES PRIOR TO 1921 63

and others continued to make contributions to this important collection. This volume continues to be an important, general source of information pertaining to the items housed in the Musée Saint-Saëns. 159. Catalogue général et thématique des oeuvres de Camille Saint-Saëns. Second edition. Paris: Durand, 1908.The revised edition of this catalogue from 1908 is organized in the following fashion. The first section lists all compositions with opus numbers in numerical order with incipits. The second section lists compositions without opus numbers according to genre. These are melodies, duos, choeurs; musique religieuse’, musique de piano, d’orgue et d’ensemble; and transcriptions. All of these compositions have incipits. The third section lists all theatrical works with incipits as well. The fourth section is a listing of Saint-Saëns’s transcriptions of his own works, while the fifth section is a listing of his arrangements and transcriptions of other composers’ music. Both include incipits. Next is a section devoted to his literary works, and the final section is an alphabetical list by title of works that have been written while the catalogue was at press. The monograph concludes with an index of all compositions listed first by genre, then within the genre by works with opus numbers, followed by the works without opus numbers in alphabetical order of title. Published in 1908, this volume is obviously incomplete, though still a helpful tool. 160. Croze, J.L. “M.Saint-Saëns: Fantaisie et pages intimes.” La revue illustrée (March 15, 1890): 272–74.This article presents excerpts from letters of Saint-Saëns to Louis Gallet which Gallet shared with the author, Croze, who wanted to interview the composer about the genesis of his opera Ascanio. These few letters are filled with charming sketches, poems, and illuminations from the hand of the composer, which are quite commonly found in his correspondence. They also offer some information pertaining to the composition of Ascanio, but primarily they give a glimpse into the composer’s everyday life during his stay in Algiers at the time. Unfortunately the author only gives excerpts from the letters, and from one letter (dated “Cadix, novembre 30”) which Croze indicates is full of “minute details” on the performance of Ascanio, the author only quotes a poem, thus sharing none of these details with the reader. Reproduced in the article are several of Saint-Saëns’s sketches and illuminations. 161. della Corte, Andrea. “Le idee di V.d’Indy quelle di Camille Saint-Saëns.” Rivista musicale italiana 26 (1919): 381–94.Appearing in the same year as Saint-Saëns’s pamphlet Les idées de M.Vincent d’Indy (#285), della Corte attempts to look beyond the cutting and sometimes bitter rhetoric of what he considers Saint-Saëns’s “most audacious and most theoretical writings on musical culture” in order to reveal the dichotomy between the two composers’ views on criticism and historicism. He sees in Saint-Saëns’s attack of d’Indy’s Cours de composition musicale (1897–1900) the “old motive of germanofobia and its capitulation to Wagnerianism.” Saint-Saëns greatly disliked d’Indy’s reliance upon the philosophies of Hugo Riemann and his methodological approach to systematic, scientific, and schematic analysis. Yet, della Corte finds this to be more of a strength in d’Indy’s treatise, but largely lacking in SaintSaëns’s own volumes on Harmonie et mélodie (#284), Portraits et souvenirs (#289), École buisonnière (#282), and Germanophilie (#283), as well as his critique of d’Indy’s Cours. Both composers appear to treat musical history in less than accurate fashions, shaping it to suit their own arguments. Following a comparative review that challenges various weaknesses on the parts of Saint-Saëns and d’Indy alike, the

64 CAMILLE SAINT-SAËNS

author finds both to be somewhat inadequate in their treatment of perhaps the most centrally important issue regarding musical composition and criticism, that is, the context of music theory itself. 162. Durand [publishers]. Catalogue thématique des oeuvres de Saint-Saëns. Second edition. Paris: Durand, 1908.See #159 for annotation. 163. Écorcheville, Jean. “Monsieur Saint-Saëns et le wagnérisme.” Revue de Paris 8 (August 1, 1899): 664–76. ISSN 0066–3786.This article is a reply to Saint-Saëns’s article “L’illusion wagnérienne” published in the same journal in April 1899. Here the author takes issue with the composer’s criticism of the cult of Wagner as “the sport of an illusion.” While admitting the genius of Wagner, Saint-Saëns does not believe that he is a musical “Messiah.” The author proceeds to defend Wagner’s uniqueness and importance—the esprit wagnérien—by defining it. He states that Wagner’s art is in accord with all “manifestations of the human life,” it does not exist among other works. He believes that the difference between the esprit wagnérien and that of other great artists is that the former implies a philosophical element: “His dramas emanated from his doctrine, as his doctrines were inspired by his dramas.” Finally Ecorcheville states that Wagner’s music is truly a fait nouveau, and that artists and musicians are frightened by “revolutionary movements.” 164. Lalo, Pierre. “Une opinion de M. Saint-Saëns: A propos de l’interpretation des oeuvres de Bach et de Haendel.” Le temps (February 24, 1903).In this article Lalo takes Saint-Saëns to task for saying that the performance of the works of Bach and Handel is a fantasy (chimère); however, Lalo does not give the source of this quote. According to the author, Saint-Saëns feels this way for two reasons: because there is no indication of tempo or nuance in this music, and because of the difference between the Baroque and modern orchestras. While these points are valid indeed, Lalo argues that if viola da gambas are replaced by cellos, and the violino piccolo is replaced by the regular violin, what does it matter? It is better to make these adjustments and play the music of Bach and Handel, than not to play it at all. As for his argument regarding tempo and nuance, Lalo is somewhat less convincing as he draws the reader’s attention to the repertory of Beethoven to support his opinion. Believing that a performance tradition has built up around Bach and Handel, he states that no one familiar with the “spirit of Beethoven” will ever be able to suppose that the interpretations of Richter and Joachim are incorrect or bad; they are in “accord with the emotion of Beethoven.” He continues to say that it is “the music that speaks to them.” In this article Saint-Saëns’s interest in authentic performance practice of music is debated, and while neither composer nor critic offers real solutions to the problem, they are addressing a very sensitive issue which is still debated in the twenty-first century. 165. Lalo, Pierre. “Lareforme de la musique sacrée: Les idées et les contradictions de M. Saint-Saëns.” Le temps (July 12 and 19, 1904).A response to Saint-Saëns’s criticism of Pope Pius X’s Motu proprio on sacred music of 1903, this article addresses the composer’s concerns regarding the pope’s strictures. The pope wanted to return to authentic Gregorian chant as transcribed by the Solesmes Monks. Saint-Saëns admits that his skepticism begs the question of what is authentic, or pure, chant. He indicates that “we have lost the key of this antique art, it is a dead language.” The composer is implying, as did other musicians during this time, that because of the changes, adaptations, and bastardizations to which Gregorian chant was subjected over the centuries, it is unlikely that we will ever be able to come to a definitive

OTHER PRIMARY SOURCES PRIOR TO 1921 65

“authentic” chant. The other issue addressed is one of style or “taste” as Lalo mentions, and deals with what type of music should be “allowed in the sanctuary.” Here Saint-Saëns challenges the pope’s belief that Palestrina’s music, or music in that sty le, is the most appropriate to worship. The composer rightly asks, “What about this polyphony is so particularly religious?” Saint-Saëns reminds the reader that music of this period, whether sacred or secular, was very similar in its musical style, and that one could set Latin words to a Palestrina madrigal, and one would not know that the music was composed as a secular piece. This comment Lalo takes to mean that Saint-Saëns supports the contemporary idea of resetting operatic arias and tunes with Latin and using them at Mass or the Offices. However, Saint-Saëns is only pointing out that what has become a tradition in the nineteenth century existed in previous centuries. Lalo mentions that the composer believes priests should follow serious musical studies in seminary, as well as all the arts in general, to give them a proper education in taste. 166. Parker, D.C. “A Modern Proteus: Saint-Saëns and the Repertory.” Musical Standard 10 no. 256 (1917): 346.The author of this brief article applauds Saint-Saëns’s versatility above all else, and believes that he is not devoted to a certain school or to a particular composer, but to art itself. Saint-Saëns’s popularity as a composer can be traced to two sources: his fine technique, as he is “able to write exactly what he wishes,” and the fact that no matter what he writes it is not dull. Parker even goes so far as to say that he has “little doubt that, did he [Saint-Saëns] wish to do so, he could run Debussy very hard in his own manner.” Above all, this author praises SaintSaëns’s artistic individuality and declares his compositions “full of interest.” Specific works mentioned include the op. 18 Trio, the Introduction and Rondo Capriccioso, Le rouet d’Omphale, the Danse macabre, Samson et Dalila, the Third Violin Concerto, La fiancée du timbalier, and the second and fourth piano concerti. 167. Parker, D.C. “Saint-Saëns and the Violin.” The Strad 24 no. 338 (1918): 338. ISSN 0039–2049.Here the author praises Saint-Saëns’s writing for strings, mentioning especially the three concerti, and the Introduction and Rondo Capriccioso. At the time Parker felt that the first concerto should be heard more often, and that the Introduction and Rondo Capriccioso “shows the composer at his best.” It is the third concert which the author believes is the “best violin piece which the composer has written,” and it should be placed with Lalo’s Symphonie Espagnole. Another work which Parker felt had been neglected was the Havanaise. He finds it charming and a good opportunity for the “exhibition of real gifts.” 168. Pichot, Georges. “Saint-Saëns écrivain et poète.” Musica 6 no. 57 (1907): 95.The author compares Saint-Saëns with the “complete” Renaissance man, Leonardo da Vinci, because of his multifaceted artistic career as composer, writer, poet, and amateur astronomer. He mentions one of the composer’s first scholarly works from 1881, “Note sur les décors de théâtre dans l’antiquité romaine.” The author finds this to be a very “prying” work, full of “new observations.” He also mentions Harmonie et mélodie (#284) and Les rîmes familières (#291) as works of “good quality.” Pichot quotes from a poem contained in Les rîmes as an example of a tendency toward sadness in Saint-Saëns’s works. This article is not a critical appraisal of his literary works. 169. Pougin, Arthur. “Monsieur Camille Saint-Saëns comme écrivain.” Zeitschrift der Internationalen Musikgesellschaft 1 (1900): 259–61.The author takes this opportunity to advertise the composer’s forthcoming monograph Portrait et

66 CAMILLE SAINT-SAËNS

souvenirs (#289) which was just published that same year (1900). After mentioning various other books and pamphlets of interest that Saint-Saëns had written, including Harmonie et mélodie (#284), Charles Gounod et le Don Juan de Mozart (#279), and his comedy, La crampe d’écrivain (#280), Pougin then describes each section of Portrait et souvenirs (#289), giving a critical appreciation of each. While in general terms this article is disappointing in that one might have hoped for some more substantive discussions on the composer’s writings on the whole, the author does include a tribute sonnet written by Saint-Saëns to commemorate the 500th presentation of Gounod’s Faust in 1887. 170. Quittard, Henry. “L’orentialisme musical: Saint-Saëns orientaliste.” La revue musicale 6 (1906): 107–16. ISSN 0035–3736.The author believes that composers of exotic works, including Saint-Saëns, provide merely artistic interpretations and do not offer anything more than caricature melodies and rhythms of the people they attempt to depict. He gives a brief theoretical explanation of the differences between European and Eastern scales which he admittedly borrows from P.J.Thibaut, identifying only one non-Western mode (a major scale with a raised fourth degree). He then offers a cursory examination of Saint-Saëns’s Mélodies persanes no. 1 and 4, as well as an excerpt from the Suite algérienne and ballet music from Samson, saying that they really use the natural minor scale with alterations (raised third and sixth degrees). However, Myriam Ladjili (32) has identified these same works, and others, as employing the ramal mode of Arabic music. Likewise when Quittard infers that SaintSaëns and others depend on monotonous repeated rhythms in the percussion to mimic exotic music, Ladjili has more recently identified these rhythmic cells as authentically belonging to Arabic music. While labeling attempts at musical orientalism to be “amusing, charming, but superficial,” and then declaring that even as an orientalist “Saint-Saëns is always Saint-Saëns,” the author demonstrates his own superficial and erroneous understanding of Eastern music. Saint-Saëns is not as “Saint-Saëns” as Quittard thought. 171. Savari, Pauline. “Le musée Saint-Saëns a Dieppe.” Le guide musical 36 (1890): n.p.This is an extremely brief acknowledgment of the Saint-Saëns museum, mentioning the contents only in the most general terms. The author indicates that the collection houses various original scores by Mozart, Gounod, Liszt, and Saint-Saëns himself, but no specific titles are offered. 172. Thorel, René. “Les Musée Saint-Saëns a Dieppe.” Musica 5 (1906): 44.This brief article discusses, in general terms, the contents of the three rooms of Saint-Saëns materials housed in the Dieppe Chateau Museum. Some specific items mentioned include photographs of Gounod, Bizet, and Liszt, as well as a statue of Mozart by Barrais, and busts of Bach and Liszt. There are sentimental items such as a piece of the crepe from the catafalque of Victor Hugo, and a card from Verdi. The author also mentions collections of letters by Berlioz, Voltaire, and Liszt, as well as autograph scores of an unidentified march by Mozart, the Valse mélancolique by Liszt (1843), and a libretto of Faust with musical annotations in Gounod’s hand.

5 Specialized Studies Primary and Secondary Sources

VOCAL MUSIC: OPERAS, DRAMATIC MUSIC, SACRED MUSIC, SONGS 173. Ashbrook, William. “Siren Song.” Opera News 23 (1958): 9–10. ISSN 0030– 3607.This is a brief look into the ways Saint-Saëns’s music effectively defines the role of Dalila. It begins with a discussion and chronology of the historical rise to importance of the mezzo soprano as prima donna. Ashbrook also offers some insights into the most famous music in the opera. 174. Ashbrook, William. “Saint-Saëns et Dalila: Music for Seduction.” Opera News (1977): 26–27. ISSN 0030–3607.Ashbrook examines details of the libretto which echo the French classical traditions of Racine, and he compares the development of the operatic account of the story with its earlier biblical version. The author observes that seduction becomes the dominant subject in the opera. This is accomplished by concentrating more upon the character of Dalila, and not the heroic deeds of Samson. The reversal of emphasis between the biblical tale and the opera is achieved by means of the three seductive arias of Dalila, which portray her as dangerous and controlling, while Samson’s music is characterized by Ashbrook as “heroic declamation.” 175. Augé de Lassus, Lucien. “L’ancêtre: Opéra en trois actes, musique de C. SaintSaëns, paroles de L.Augé de Lassus.” Revue d’histoire et de critique musicales 6 (1906): 88–94.After a description of the plot of the opera the librettist offers his account of the genesis of the work. Augé de Lassus believes that the work was a true collaboration, and praises Saint-Saëns for his equilibrium of thought, his taste, and the order and clarity of his music. The author also recounts the composer’s visit during the time of the composition of L’ancêtre to Burgos for the solar eclipse, and how both he and Saint-Saëns took time to visit Corsica (the location of the opera), to better know and understand it for their work. According to Augé de Lassus, the music gives a “faithful echo” of the locale, and he describes the country as “essentially tragic.” He is critical of Meyerbeer, whom he felt insufficiently captured the Breton countryside in Le pardon de Ploërtnel, but believes that Gounod better captured Provence in his opera Mireille. After Saint-Saëns’s return from Corsica, he was inspired and vibrant, and worked steadily on the opera in a “little Swiss villa” on the banks of the Lac Majeur (Lago Maggiore). However, the composer’s work was

68 CAMILLE SAINT-SAËNS

not without some difficulty. Augé de Lassus quotes from Saint-Saëns’s letters to him which stated: “The quartet gave me a great deal of trouble.” 176. Blier, Steven. “The Secret of Samson’s Strength.” Opera News 62 no. 12 (1998): 9–12. ISSN 0030–3607.The author asks the question: Why, after such a troubled beginning has Samson et Dalila become a staple in the repertoire? First, he believes that it can be well performed by singers who do not specialize in French music, citing Christa Ludwig, Waltraud Meier, and Elena Obraztsova as being some of the more memorable Dalilas. According to Blier, the music, not the text “does the talking.” While the libretto is what he calls more “user-friendly” to non-native speakers, the music is what supplies the nuance, creates the characters, and sets the scenes. The author points to various similarities the opera has with what he calls “prevailing operatic models,” but is quick to indicate that he believes it is fundamentally different from other French operas of the period. 177. Bonnerot, Jean. “Ascanio de C. Saint-Saëns: Histoire d’un grand opéra” Écho de Paris (November 3, 1921).Bonnerot offers a historical account of the genesis of the opera Ascanio beginning with the composer’s collaboration with Gallet and Paul Meurice (the author of a play based upon Benvenuto Cellini). According to the author, Saint-Saëns composed the work between November 1887 and September 1888 while at various times in Algiers and Las Palmas on holiday. Despite the relatively brief time it took to compose and orchestrate the work, and various casting difficulties at the Opéra, the work was premiered in 1889 and was given thirty performances. Because of his mother’s death, Saint-Saëns left Paris between 1888 and the premiere, so he was not in attendance. Ascanio was briefly heard again in 1891, and succeeding attempts to revive it met with obstacles. Bonnerot’s article marked the first time the work was heard in thirty years. Unfortunately, there is no discussion or analysis of the music and libretto. 178. Bonnerot, Jean. “Histoire d’une tragedie lyrique: Déjanire de Saint-Saëns.” Écho de Paris (November 18, 1911).In this article the author offers an account of SaintSaëns’s collaboration with Gallet in writing the music for Déjanire, which opened Castelbon de Beauxhostes’ amphitheater in Béziers in August of 1898. It was originally conceived as incidental music to Gallet’s free-verse play; Saint-Saëns later developed it into a complete opera during one of his periods of rest in Egypt. According to Bonnerot, there is not one page that is not “profoundly modified.” Despite this, the operatic version bears Gallet’s name, too. 179. Bonnerot, Jean. “Les intermèdes du Malade imaginaire: Le musicien Charpentier et M.Camille Saint-Saëns collaborateurs de Molière.” Les jeux et les ris, supplement to Les annales politiques (October 15, 1913): 165–68.This article begins with an introduction to the play by Molière, Le malade imaginaire, and Charpentier’s incidental music. In 1892, when the Grand Théâtre under the direction of M.Porel wanted to revive the work, they commissioned Saint-Saëns to restore the score. According to Bonnerot, he “borrowed” music from Charpentier’s opera Medée; however, Saint-Saëns himself composed the opening section of the overture. This he did in the “style of the time,” according to Bonnerot. Since music for the second act “Pastorale” between Cléante and Angélique did not exist (according to the author), Saint-Saëns set it to music. The last three pages of the article give Molière’s dialogue and the musical setting of the “Pastorale” by Saint-Saëns. While his original music for the play is not mentioned in Grove nor in other more recent biographies which

SPECIALIZED STUDIES 69

include works lists, Studd does mention Saint-Saëns’s reconstruction in his biography on the composer. 180. Bonnerot, Jean. “La vingtième année de Samson et Dalila” Echo de Paris (November 22, 1912).In celebration of the twentieth anniversary of the premiere of Samson et Dalila at the Opéra, Bonnerot composed this brief article which confirms some of the basic details of the genesis of the opera; its premiere by Liszt in Weimar in December 1877. The author then presents a brief “reception history” of the opera from its German premiere to the French premiere in Rouen, where it was hailed by Parisian critics for its “noble” score, its “luminousness,” “seductiveness,” and “poignancy.” Bonnerot also mentions the various performers who sang the title roles over the course of its early history. Other little-known facts mentioned in the article include that due to to the high cost of its production, much of the scenery was borrowed from other productions. (This is not unusual.) The scene for the first act was taken from Massenet’s La roi de Lahor, and the prison scene was fashioned from an old “canvas.” 181. Boschot, Adolphe. “Déjanire de Saint-Saëns.” Écho de Paris (November 23, 1911).The article begins with a description of the plot of the opera, and occasionally points to musical elements of the work which the author finds interesting. Boschot believes the the opera is simultaneously modern and classic. It is modern because of its colorful orchestration, the fusion of recitative and melodic declamation, the use of modes, abundant modulations, and the expressive boldness of the writing. And it is classic in its profound unity and the balance between the voices and orchestra. The orchestra, according to the author, is used for support, to create atmosphere, and to suggest what the voice cannot say. Boschot unfortunately does not offer any history of the original version of the work and its transformation into an opera by the composer after the death of the librettist. 182. Bouillon, Elisabeth. “Samson et Dalila: La confusion d’un genre.” Avantscène opéra 15 (1978): 8–13.This article begins with a lengthy quote from a letter to Henri Collet in which he describes the genesis of the opera and the well-known circumstances of its creation. Another quote from Saint-Saëns’s Problèmes et mystères (#290) is introduced to shed light upon his religious beliefs, which were not in keeping with orthodox Catholicism. Why then a religious subject? Saint-Saëns viewed the story more as a legend, not as a sacred biblical account. The author proceeds to examine the opera act by act, comparing it with the biblical story, and pointing out differences, omissions, and additions. Likewise she mentions the similarity of the characters and general story with Tristan, Parsifal, Salome, and Elektra. 183. Bouillon, Elisabeth. “Samson et Dalila: Drame lyrique ou drame musical?” Avantscène opéra 15 (1978): 76–85.Taking her title from Saint-Saëns’s own brief article in his Portrait et souvenirs (#289), the author discusses what she believes to be the very poor quality and construction of the libretto, and the characteristics of the music, which she finds indebted to both Wagner and the oratorio style. The author’s discussion of music is subdivided into “Les influences wagnérienne,” “Déclamation continue,” “La fonction des voix par rapport a l’orchestre,” and finally “Rôle des leitmotive.” In another subsection of the article she examines Saint-Saëns’s musical style, showing how he is indebted to Wagner and how, despite the poor libretto, the composer achieves a “style épique.” In closing, she gives limited attention to the chorus and the ballet.

70 CAMILLE SAINT-SAËNS

184. Bülow, Hans von. “Samson et Dalila.” Renaissance musicale 1 (May 1882): 145–46.The author praises Saint-Saëns as being the second Rubinstein, “less strong” than Rubinstein, but more “highly finished and more balanced.” Unlike in the music of Rubinstein, one recognizes in the music of Saint-Saëns a “constant harmony of inspiration, and a critical sense” which is “essential in balance of an artistic work.” Though Bülow does not speak in any detail about the opera, he nevertheless praises it, considering it a “capital work” which he places well above Étienne Marcel. 185. Busser, Henri. “L’oeuvre dramatique de Camille Saint-Saëns.” L’art musicale 15 (November 1935): 5–6.While not an in-depth account of the dramatic music of the composer, this brief article helps somewhat to place Saint-Saëns in perspective of his time. First of all, according to the author, when Saint-Saëns spoke of “theatre” he placed music first, while with Massenet the “scene” was first. Because of the number of operas he composed (more than Wagner), Saint-Saëns should actually be considered a theatrical composer. Busser praises the composer for his melodic richness, his orchestral writing, and his strength and grandeur, despite his “sobriety of line.” Other insightful observations made by Busser include the quote of Saint-Saëns in which he stated that he would have given all his theatrical works to have composed the fourth act of Rigoletto. Unfortunately, the author does not cite the source of this quote. Busser laments that after World War I many mediocre composers were lauded to the neglect of Saint-Saëns, and despite the deficiencies in his libretti, such as poorly defined situation and maladroit scenes, his operas are nevertheless masterpieces. The author closes with Fauré’s quote that in France “we have two great musicians, Gounod and Saint-Saëns: one shines because of his spirit, and other dominates by form.” 186. Chantovoine, Jean. L’oeuvre dramatique de Camille Saint-Saëns. Paris: Heugel, 1921. 35 p. ML 410.S15.C4.This discourse was originally presented by the author as a series of lectures given at the “Concert historique” of Pasdeloup on February 3 and 24, 1921, just months prior to the composer’s death in December of that year. It is ironic that these two lectures were a part of a discussion of historic concerts, which indicates one of the commonly held views during the later years of Saint-Saëns’s life that his music was anachronistic and out of fashion. The first presentation (given on Feb. 3) is a summary of Saint-Saëns’s operas, opéras-comiques, ballets, and other divers theatrical works such as Déjanire, Parysatis, and Hélène. The author mentions each work briefly with some description of its history and genesis. The second lecture is a discussion of the composer’s aesthetic. The author compares Saint-Saëns with Voltaire for his “universal curiosity,” his “spirit,” his “cleanness of thought,” and the “clear style.” Chantovoine iterates the composer’s own description of style as eclectic, and categorizes the variety of Saint-Saëns’s dramatic works in the following ways: biblical, opéra bouffe, historical drama, rustic ballet, and scenic music for both Oriental and classical tragedies. 187. Cleva, Fausto. “The Symphony of Samson.” Opera News 9 (1953): 15, 30–31. ISSN 0030–3607.The author and conductor, Cleva, shares his views that orchestrally, Samson is a symphonic poem, while vocally, it is an oratorio. He asserts that consequently the work is very difficult to perform well, and in this article he enumerates some of the challenges that its production presents. The various dynamic gradations and balance of sound are only a couple of the elements which demand the attention of all musicians involved. Interestingly, while the author indicates that Samson et Dalila is cut from the same orchestral cloth as Berlioz’s Les Troyens,

SPECIALIZED STUDIES 71

Bizet’s Carmen, and Verdi’s Otello, he either fails or chooses not to compare this opera with the Wagnerian music drama. 188. Collet, H. Samson et Dalila de Camille Saint-Saëns. Paris: P.Mellottée, 1922. 132 p. MT 100.S15.S2.C68.Subtitled a historical and critical musical analysis, this monograph is divided into five main sections: an introduction, a biography of the composer, a history of the opera, a discussion of the libretto, and an examination of the music. The brief introductory material explains the importance of the opera. This is followed by a well-documented biography of the composer which draws heavily upon his own writings, such as Problèmes et mystères (#290) and École buissonnière (#282) as well as Bonnerot (#95) and Sevières (#47). The section on the historical background of the opera is taken in part from the composer’s own writings, and clears up confusion regarding the actual premiere and private salon performances of the work. In the chapter dedicated to the libretto, Collet offers a comparison of the biblical account with that of Saint-Saëns’s librettist and distant relative. It recounts the often-told story of the genesis of the work, and then proceeds with a scene-byscene explanation. The more substantial portion of the monograph is dedicated to the music, and offers specific musical citations drawn from the score. Again, the author mentions information found in other sources, but does offer insights into the composer’s approach and style. 189. Combarieu, Jules. “Musique contemporaine: Les barbares, tragédie lyrique en trois actes and un prologue, musique de Camille Saint-Saëns” Revue d’histoire et critique musicale (1901): 377–78.The author describes the opera as containing rich symphonic writing, French grace, verve and spirit, strength, and a technical valor, but lacking freshness, inspiration, and sincere emotion. Combarieu believes that the years have made Saint-Saëns cold and more ingenuous. He believes that the libretto is not good, for the title gives the impression of ancient grandeur and epic qualities, but does not come through. Perhaps it is too stylized for his tastes. The author suggests that it may have been a better subject for an opera in the previous century. He also criticizes the lack of essential elements for a true tragédie lyrique, rudimentary constructions of the scenario, and a sense of “historic truth.” 190. Combarieu, Jules. “Musique contemporaine: Les barbares, tragédie lyrique en trois actes and un prologue, musique de Camille Saint-Saëns….” Revue d’histoire et critique musicale (1901): 403–5.The author, while admitting that in general the opera is a “beautiful” score, has difficulty with the way Saint-Saëns mixes two styles: the symphonic poem and opera. He believes that the introduction contains “too many measures” to be an overture, and it is not appropriately a prologue, for by his definition a prologue sets up the action but is distinct from it. It would appear that the author has a more conservative approach to opera composition than Saint-Saëns. Combarieu also feels that the composer’s “ultra classic” style does not fit the drama of the plot, although the music is as beautiful as some of the scores of Gluck. 191. Cullin, Olivierk. “L’illustration et l’orentialisme en musique: La bacchanale de Samson et Dalila de Saint-Saëns.” Les cahiers de litteratures, Université de Toulouse, 1992.The author was unable to examine this source. 192. David, Marc. “L’oeuvre dramatique de C.Saint-Saëns.” Le guide du concert 3 (1922): 31–32.The author praises Saint-Saëns for being the composer of the French school who “synthesizes the best.” His operas are marked by their conciseness and neatness, and eschew the sinuousness and overly ornamented vocal lines of composers such as Rossini. Within his operas dealing with historical or mythological

72 CAMILLE SAINT-SAËNS

subjects, he creates real and human characters. According to the author, Saint-Saëns does not follow the Wagnerian style of music drama, but rather finds his roots in the “spirit” of Mozart’s operas, and the “grandeur” of Gluck’s. Interestingly, the author finds a certain verismo quality in Saint-Saëns’s operas. He is interested in action, and his ensembles are the result of dramatic necessity. Like so many other critics, the author identifies a certain “clarity” and “elegance” in the music of Saint-Saëns, and also praises him for his “fine, supple, and rich instrumentation.” 193. Debussy, Claude. “De quelques superstitions et d’un opéra (Les barbares de M.Saint- Saëns).” In Debussy on Music, ed. François Lesure, trans. Richard Langham Smith, p. 51–55. New York: Cornell University Press, 1988. ISBN 0 8014–94206. ML60.D313.In this article, Debussy enters into a discussion with M.Croche about the necessity and appropriateness of the Prix de Rome. The latter (Debussy‘s alter ego) believes it to be “ridiculous.” Debussy continues to say that Saint-Saëns’s opera Les barbares is a pastiche drawing from previously composed music from the 1889 Exposition, and laments that the composer who championed the music of Liszt and Bach felt compelled to turn to the theater. This critique was originally published in the Revue blanche, November 15, 1901. 194. Debussy, Claude. “Au Concert Colonne: Parysatis de M.Saint-Saëns.” In Debussy on Music, ed. François Lesure, trans. Richard Langham Smith, p. 142–46. New York: Cornell University Press, 1988. ISBN 0801–494206. ML60.D313.This article repeats some of the discussion on Saint-Saëns’s Les barbares from the Revue blanche above. But Debussy makes further comments on the composer’s style in general. He believes Saint-Saëns to be the “essential traditional musician” who “never allows himself to overload his music with too many of his own personal feelings.” After complaining that the composer has fallen into the theatrical tradition of Louis Gallet and “worse,” Victorien Sardou, he begins his discussion on Parysatis, originally composed for the open-air theater in Béziers. Debussy finds the work to be lacking in grandeur and having roots in the music of Handel. This work was unable to fulfill Debussy’s expectations of what music in the open air should be, a topic upon which he had written his thoughts several times. This article was originally published in Gil Blas, March 16, 1903. 195. Debussy, Claude. “Henry VIII de M.Saint-Saëns.” In Debussy on Music, ed. François Lesure, trans. Richard Langham Smith, p. 196–98. New York: Cornell University Press, 1988. ISBN 0801–494206. ML60.D313 Debussy takes the opportunity of a revival of Saint-Saëns’s opera Henry VIII (1883) to point out his general failings as an opera composer. In a back-handed fashion, Debussy calls Saint-Saëns more of a “musician than a man of the theater” and assures the reader that Saint-Saëns no doubt had good reasons for composing such “sugary” cavatinas for such a bloodthirsty character. Like so much of Debussy’s criticisms, he manages to insult his subject in a polite and naïve manner which, if not read carefully, can be misinterpreted as a compliment. This article was originally published in Gil Blas, May 19, 1903. 196. De La Grange, Henry. “After the deluge: Samson” Opera News 9 (1953): 6–8, 26. ISSN 0030–3607.The author puts the opera in context of Saint-Saëns’s oeuvre and suggests that the reason it was not initially successful was that Liszt guaranteed its premiere. By so doing, he freed Saint-Saëns from the popular operatic tastes of the day to compose as he pleased. De La Grange also minimizes Wagnerian influences to a few recurring motives characteristic of the Leitmotif. He further indicates that

SPECIALIZED STUDIES 73

the orchestra dominates Wagner’s operas, while in Saint-Saëns’s opera, the voice remains the dominant element as in traditional Italian and French opera of the nineteenth century. 197. Destranges, Étienne. Étude sur “Samson et Dalila”: Étude Analytique. Paris: Fischbacher, 1893. 20 p. MT 100.S34.In this analysis of the score to Samson the author praises Saint-Saëns for his elevation of ideas, purity of style, and admirable orchestration. He also notes that some of the choruses recall those by Bach and Handel, although he is not specific. Destranges has a penchant for labeling various themes which he identifies as leitmotifs representing revolt, curse, lamentation, vengeance, and desire. He is specifically fond of the chorus in Act I, “Voici le printemps,” Dalila’s two famous arias, “Printemps qui commence” and “Mon coeur s’oeuvre a ta voix.” The author believes that this opera is the first French opera to “break with Italian absurdities”; however, he points to an instance in the work where some “naughty” Italianism creeps in. Despite his positive comments Destrange believes that the biblical story creates some challenges in “scenic development.” The analysis is replete with several musical examples to illustrate his points. 198. Destranges, Étienne. Une partition méconnue: “Proserpine” de Camille Saint-Saëns. Paris: Fischbacher, 1895. 40 p.The author was unable to examine this source. 199. Dubcek, Marina. “L’orientalisme dans Samson” L’avant-scène opéra 15 (1978): 86–88.This article traces the exotic influences in Saint-Saëns’s most popular opera. While admittedly not a new concept, the author does make some interesting connections and observations. The Philistines symbolize the Orient with their seductive music, while the Hebrews symbolize the West with their more oratorio-like counterpoint and traditional sound. The author believes that Saint-Saëns’s use of Oriental effects is not an assimilation of real non-Western music, but rather an attempt to capture the spirit of the East: it is totally exterior. The author offers some specific examples of non-Western modes, rhythms, and instrument types, and then demonstrates how Saint-Saëns adapted his own musical language to imitate and evoke an exotic atmosphere. 200. Eyer, Ronald. “Samson: Body or Soul?” Opera News 23 (1958): 4–6. ISSN 0030– 3607.The author compares the subject matter of Saint-Saëns’s opera with early oratorio to remind the reader that the origins of both art forms are linked, and that they find their common roots in liturgical dramas, such as the mystery plays. With this point made, the author asserts that Samson et Dalila is in fact an oratorio no matter what the composer thought he wrote. An extensive quote from Saint-Saëns concerning the genesis of the work is included in the article; however, the author fails to give the proper citation. 201. Fogel, Susan Lee. “Samson et Dalila ou le rôle du choeur.” L’avant-scène opéra 15 (1978): 89.This article begins with some comparative comments on Carmen and Samson pointing to the differences between the two regarding the use of secondary characters. Carmen has Michaela (the antithesis of the heroine) and Escamillo, but this type of character is lacking in Samson. There are also no subplots in Samson as there are in Carmen. However, according to the author, this is compensated for by the role of the chorus. It serves an integral role unlike anything in previous operas. (Perhaps because it was originally conceived of as an oratorio?) The chorus in Samson is compared to that in Boris Godounov and Nabucco: a group of oppressed people who fight for liberty. Effectively, Saint-Saëns uses the chorus in the role of the oppressed Hebrews as well as the conquerors.

74 CAMILLE SAINT-SAËNS

202. Gallet, Louis. “Saint-Saëns et Brunhilda (Frédégonde).” Le ménestrel (February 24 and March 17, 1895): n.p.Ernest Guiraud, who died in 1892, was a member of the Société Nationale, a teacher (of Debussy and Dukas), and a composer who was known primarily for completing Offenbach’s Tales of Hoffmann and adding recitatives to Bizet’s Carmen. However, upon his death he left numerous works incomplete, including a full-scale opera, Frédégonde (or Brunhilda). Saint-Saëns offered to complete it as a tribute in collaboration with Dukas (who orchestrated it) and Louis Gallet. This article chronicles Saint-Saëns’s trip to the East during the winter of 1894–95, at which time he completed the opera. Gallet presents excerpts from the composer’s letters to him which only mention in passing his work on the opera. January 21, 1895, he says: “I have tackled on the high seas our last tableau,” then he continues to describe the natural beauties of the trip. Other excerpts indicate Saint-Saëns’s fondness for the Spanish zarzuela and describe his trip in general. 203. Gounod, Charles. “M.Camille Saint-Saëns: Henri VIII.” In Mémoires d’un artiste, p. 189–97. Paris: Calmann Levy, 1896. 261 p. ML 410.G7.Saint-Saëns’s friend and colleague praises the opera in this brief descriptive analysis. Gounod is likewise highly complimentary of Saint-Saëns personally, and professionally. Gounod describes him as “one of the most astonishing musical natures that I know.” His appreciation of Saint-Saëns’s opera proceeds by highlighting the most unique, and in his opinion beautiful, elements of the work. He concludes by critiquing the singers in quite general terms. 204. Hippeau, Edmond. “Henry VIII” et l ‘opéra français: Étude sur Camille Saint-Saëns et sur un essai de style nouvean dans le drame lyrique. Paris: Renaissance Musicale, 1883. 76 p. ML 410.S15 H4.The author views this opera as “one of the most remarkable produced by the French school.” Divided in five major sections (not including the very brief “Conclusion”), this study begins with an introduction to the young French school and modern opera. Following this there is a biographical sketch of the composer with a discussion of his opinions and principles of composition. The next section is given over to an analysis of the work, a critique of the libretto, and an investigation of some of the important musical motives. The centerpiece of this monograph is a chapter pertaining to the score of the opera, the orchestra, the characters, the drama, melody, and ensembles. In the final section Hippeau examines the judgments of the Parisian press, and offers an appreciation of what he considers Saint-Saëns’s innovations, as well as his thoughts on the future of the young French school. According to the cover page of the text, this book appeared in installments in the journal La renaissance musicale. 205. Kestner, Joseph. “The feared woman: In Samson et Dalila Saint-Saëns seized upon a subject that coursed through nineteenth-century literature and art: The femme fatale.” Opera News 51.15 (1987): 34–37. ISSN 0030–3607. This article addresses the role of the femme fatale in literature, and the newfound liberties of women in society in France during the late nineteenth century juxtaposed with Saint-Saëns’s opera. The author also chronicles the various portrayals of the character of Samson in literature from egotistical demigod to early Christian prefigurement of the Messiah; and that of Delilah from a prostitute who was a pawn of the Philistines to a priestess and selfpossessed, strong individual agent. Insightful observations are also made pertaining to the general conflicts of good (light) and evil (darkness). Included in the article are several reproductions of paintings from various periods to which the author refers in a limited fashion at the conclusion of the article. Sources for the rather powerful

SPECIALIZED STUDIES 75

quotes used in the course of the paper, especially at the beginning, are unfortunately not identified. 206. Ledbetter, Steven. “Two seductresses: Saint-Saëns’ Delilah and Chadwick’s Judith.” In A Celebration of American Music: Words and Music in honor of H. Wiley Hitchcock, ed. Richard Crawford, p. 281–302. Ann Arbor: University of Michigan, 1990. 519 p. ISBN 0472094009. ML200.Although the author spends the majority of his energy discussing Chadwick’s “lyric drama,” he makes several pertinent observations about similarities between formal structures in the two works which are very clearly presented in a table. Important information is offered about the genesis of Judith, including letters and diary entries which also reveal Chadwick’s admiration for Saint-Saëns’s opera; however, Samson et Dalila is discussed only peripherally. 207. Locke, Ralph. “Constructing the Oriental “Other” Saint-Saëns’ Samson et Dalila”: Cambridge Opera Journal 3.3 (1991): 261–302. ISSN 0954–5867.This is an investigation into how the music and libretto of the opera help create the Oriental “other” as accepted and understood by Western audiences. To accomplish his goal Locke “explores a complementary and possibly more fruitful approach” than other writers have. He examines Samson et Dalila as an opera “inscribed with an ideologically driven view of the East,” and “by focusing on the larger attitude toward the East.” To do so he believes will enable us to “free ourselves to consider a broader range of operatic techniques, including how individual figures are characterized.” Locke explores themes of Orientalism and the illusion of the Oriental in Western cultures during the nineteenth century. Thanks in no small part to the visual arts (especially paintings of Saint-Saëns’s friend Regnault, Vernet, and Gérôme) the seductive female has been called the topos oblige of Western fantasies about the East. The role of Dalila conforms to this idea. The author also examines the more traditional Western elements of the chorus of Hebrews and the seductive chorus of Philistine women which help to characterize these factions in the opera. Locke also offers insights into the enemy which is de rigueur in Orientalist operas. His reading of Dalila herself is perhaps the most fascinating section of the article. Locke concludes with a brief discussion of arias and songs which borrow from Dalila’s sensual phrase in the refrain of “Mon coeur s’ouvre a ta voix “such as Strauss’s Rosenkavalier, Cahn’s Be My Love, and Bernstein’s West Side Story. This is a more detailed and lengthy version of the following citation. 208. Locke, Ralph. “Constructing the Oriental “Other” Saint-Saëns’ Samson et Dalila”: In The Works of Opera: Genre, Nationhood, and Sexual Difference, ed. Richard Dellamora and Daniel Fischin, p. 161–84. New York: Columbia University Press, 1997. 339 p. ISBN 023110944X. ML 1700.W67.This is an abridged version of an article of the same title published in the Cambridge Opera Journal (see #207). The author examines what he labels the “foundational” level of Orientalism in Samson et Dalila, namely the subject and plot of the opera which suggests “binary oppositions,” including male vs. female, and self-controlled sexual behavior vs. hysterical and perverse behavior. This is opposed to the “poetic” level which consists of the direct, musical elements such as Oriental-sounding scales and orchestral devices commonly addressed by most musicologists when discussing “Orientalist” compositions. Some interesting portions of the article include “Point of View: The Other as Temptation and Threat,” “Oriental Despots,” and “The Enemy,” which address more political and social aspects of “Orientalism” in the opera. Two main sections of this article which are specifically abbreviated in comparison to the original are the introductory

76 CAMILLE SAINT-SAËNS

material, and the discussion entitled “Since Delilah” in which the author offers more detail on comparisons between the opera and Romeo and Juliet, as well as West Side Story. 209. Malherbe, Charles. Notice sur “Ascanio,” opéra de Camille Saint-Saëns. Paris: Fischbacher, 1890. 97 p. MU780.944.Sa2m.This is what the author calls a “detailed critique” of the opera, based almost entirely upon more than 30 motives which he lists and labels in the first five pages of the book. Malherbe, a friend of Saint-Saëns and a collector of many of his manuscripts, differentiates between two types of motive. The motif rappelé is found throughout a composition “without notable modification,” much like “a refrain of a song,” while the motif conducteur has a “variable nature” and is found in “continual transformations.” The author proceeds to analyze the opera act by act with copious references to the motives, so much so that the story of the work becomes obscure. Malherbe insists that Saint-Saëns “borrows” from, not “copies,” the German musical style, and insists that the composer’s originality is not that he used the German “formula” of Leitmotif, but that he assimilates this idea into the tastes and custom of the French spirit. 210. Messager, André. “L’oeuvre dramatique de Saint-Saëns.” Musica 6 (1907): 85–88.This article by a former École Niedermeyer pupil of Saint-Saëns is replete with many photos and drawings of scenes and performers from the composer’s various operas. He divides Saint-Saëns’s dramatic oeuvre into two categories: drame sacré (such as Samson et Dalila) and drame historique (such as Ascanio, Henry VIII, and almost all the others). He praises the originality of Samson and the well-known difficulties it faced in production. Messager also compares Saint-Saëns’s use of recurring themes to Wagner’s Leitmotifs. However, the author indicates that SaintSaëns’s themes are complete melodic ideas while Wagner’s are only “embryos.” Despite Saint-Saëns’s distaste for the ballet (according to Messager), he praises the one essay in that genre, Javotte. The composer, he believes, wrote with a great deal of respect for the human voice, and enhanced its beauty; as an orchestrator, he created theater par excellence. The article concludes with a list of the operas, Saint-Saëns’s literary collaborators, and creators of various lead roles. 211. Nussy Saint-Saëns, Marcel. Un example du rôle social du spectacle: Camille SaintSaëns et la creation du théâtre des arènes de Béziers. Montpellier: Cour d’Appel de Montpellier, 1971. 24 p. ML 410.S15.This is an address given by Saint-Saëns’s great-nephew at the opening of the 1971–72 judicial year of the Court of Appeals of Montpellier. In this discourse, the author praises the virtues of the outdoor spectacles which the composer was bold enough to write at the invitation of M.Castelbon de Beauxhostes. He specifically mentions Déjanire and Parysatis as exemplary works of this genre which consist of music, spoken word, and a cast of hundreds. The author points to 1893 as the date when Saint-Saëns first turned to the “style of the ancients” with his Hymne a Pallas Athéné. Lamenting the neglect of Saint-Saëns’s music, his great-nephew reaffirms Gounod’s description of his contemporary as the “French Beethoven.” Offering a brief tribute to his ancestor’s music, the author indicates that his music is “considered as one of the most typically representations of the French classical spirit, having at the highest point the clarity and distinction of the spirit that is apparent in Voltaire.” This reason for this topic being the subject of an address to this august body (featuring members of the Legion of Honor as well as court magistrates) may likely be that it was in recognition of the fiftieth anniversary of the composer’s death in December of that year.

SPECIALIZED STUDIES 77

212. Ratner, Sabina Teller. “La genèse et la fortune de Samson et Dalila.” Cahiers Ivan Tourguéniev-Pauline Viardot-Maria Malibran 9 (1985): 109– 21. ISSN 0399– 1326.This article traces the genesis of the opera, originally entitled Dalila. The author believes that the impetus for the work came about during a time when the genre of oratorio was being cultivated and popularized by Parisian concerts and competitions for composers. Ratner offers much solid background information from primary sources on the singer and would-be first Dalila, Pauline Viardot, to whom the opera is dedicated. The author recounts the various stages of the compositional process and reconfirms some of the well-known history behind the scenes, such as Liszt’s promise sight unseen to perform it, and Viardot’s performance at Croissy of the second act in 1874. Important details of the Weimar premiere are also given and substantiated by letters held in the Saint-Saëns Museum in Dieppe. Ratner concludes the essay with an account of subsequent first performances in the nineteenth century, mentioning those in charge of the production and those singing primary roles. Gounod’s favorable reaction to the 1892 rehearsal for the Paris premiere is given in its entirety with a reproduction of his letter to Saint-Saëns found in the Bibliothèque Nationale. 213. Scherer, Barrymore Laurence. “Song of the Orient: Saint-Saëns’ Samson et Dalila came along at just the right time: when Europe was under the spell of all things Eastern.” Opera News 62.12 (1998): 19–20, 22–23. ISSN 0030– 3607.The author begins with a chronicle of the variety of ways in which the Orient attracted and affected Western art, culture, and even politics from the seventeenth to the nineteenth century. He indicates that Italian music attempted to reflect aspects of the Eastern style, but the pre-Aïda works (L’Italiana in Algiers, Mosè in Egitto, and Nabucco) were not particularly successful. It was the French who made greater strides in this; one need only refer to Méhul’s Joseph, and David’s Le desert. However, it was Samson et Dalila that the author believes took musical “Orientalism” considerably further. In addition, unlike most operas, the story is clear and uncluttered with secondary plots, and the moral is obvious. Scherer compares Saint-Saëns’s style to that of the history painters with larger-than-life heroes, tableaux-like crowd scenes, and colorful, rich palettes. He compliments the composer’s ability to create characters through music, and his use of more authentic Eastern scales such as the hedjaz. 214. Stojowsky, Sigismund. “Die Barbaren von Camille Saint-Saëns an der Pariser großen Oper.” Die Musik 1 (1901): 316–20.This is generally a review of Saint-Saëns’s opera which premiered that same year (1901). Although the author obviously respects the composer, he uses the Wagnerian style as the yardstick by which to measure the opera, and consequently finds that it falls short. Stojowsky believes that Saint-Saëns does not develop the characters dramatically, psychologically, or musically as much as is possible. He finds the orchestral writing “symphonic” in scope, but gives no indepth analysis of the music. While “Saint-Saëns’ only musical aesthetic is consonance and beautiful sounds” this opera, according to the author does not “offer any new paths for the development of opera.” He finds Saint-Saëns’s “system of composition for this work to be a combination of historical opera, archaic and local color, beautiful sounds, symphonic orchestration, and a gloss of Wagner.” The article contains a fairly detailed summary of the plot addressing the more important numbers. 215. Vierne, Louis. “La musique religieuse de Saint-Saëns.” Le guide du concert 3 (1922): 37–39.According to the author, the period from 1830 to 1860 was, with the exception

78 CAMILLE SAINT-SAËNS

of Gounod’s contributions, a lamentable era for sacred music. Composers of religious music were ignorant of the meaning of the sacred words they were setting to music. There was a great deal of musical decadence, over-ornamentation, and insipid music. However, Saint-Saëns recognized this and fought vigorously against it. He remained musically faithful to the texts and did not employ theatrical effects or useless ornaments. Vierne identifies specific qualities in Saint-Saëns’s music which make it a model of the sacred style: it contains “purity and elegance of form, appropriateness of expression, impeccable writing and an irreproachable style.” Vierne then proceeds to mention and briefly analyze various sacred works: the Mass (1857), the Requiem, some smaller motets, Le Deluge, the Oratorio de Noël, and various organ works. The composer attests to Saint-Saëns’s reputation as a master of improvisation, and ability to treat the organ as an orchestra through his registration. Vierne asserts that the “stone carried by Saint-Saëns for the reconstruction of the temple of sacred music is a stone fashioned of the first importance,” and arriving just at the right time. 216. Wild, Nicole. “Eugène Lacoste et la creations de Henry VIII à l’Opéra de Paris en 1883.” In Échos de France et d’Italie: Liber amicorum Yves Gérard, ed. MarieClaire Mussat, Jean Mongrédien and Jean-Michel Nectoux, p. 213–32.. Paris: Société Française de Musicologie, 1997. 397 p. ISBN 22830–17122. ML 55.E24.This article examines the costumes for the 1883 production of Saint-Saëns’s opera Henry VIII. These were created by Eugène Lacoste, who also designed costumes for La roi de Lahor (Massenet), Polyeucte, Le tribut de Zamora (Gounod), Verdi’s Aïda, and Thomas’s Françoise de Rimini. This article is filled with drawings taken from the collection at the Bibliothèque-Musée de l’Opéra de Paris as well as two early photographs. These show the great detail and verify the attempts at authenticity on the part of the designer, who went to London to research his subjects. Many of the sketches, especially those of the costumes from Henry, Thomas More, Thomas Howard, and various English men-at-arms, were taken from works by Holbein. The study for the men-at-arms was taken from a work at Hampton Court identified by the author as the Entrevue de Maximilien et d’Henry VIII. 217. Zyiguilsky, Alexandre. “L’éxecution du second acte de Samson et Dalila a Croissy.” Cahiers Ivan Tourguéniev-Pauline Viardot-Maria Malibran 9 (1985): 123–25. ISSN 0399–1326.In this article the author identifies the correct place of the premiere of the second act of Samson et Dalila. In a 1907 interview with the journal Musica, Pauline Viardot indicated that this private performance took place at Bougival (#81), but the author’s investigation of the letters of Turgenev indicated that it was at Croissy-surSeine, a fact held to be true and confirmed in Studd’s most recent biography of the composer (#152).

SYMPHONIC MUSIC 218. Bender, Gabriel. “L’oeuvre symphonique de Saint-Saëns.” Le guide du concert 3 (1922): 33–34.In this brief appreciation of the composer’s symphonic works, the author identifies Saint-Saëns as being the first Frenchman since Gossec to promote the genre, and he praises him for not being stifled by its established formal design. Despite the comparisons made between his symphonic style and that of Mozart and Mendelssohn, Bender indicates that Saint-Saëns’s own voice is heard in his works. He

SPECIALIZED STUDIES 79

rather compares the composer to a Gothic sculptor whose works break the traditional mold to create a form which fuses “freedom, unity, and grandeur.” The symphonic poems, while clearly owing their existence to Liszt, were “born of the desire to follow unity with more freedom and more fantasy.” 219. Bonnerot, Jean. “Une oeuvre inédite de Saint-Saëns: Le Carnival des Animaux” Mercure de France (June 1, 1919): 572–73.Here Bonnerot explains that Saint-Saëns composed this “fantaisie aristophanesque” in February 1884 to console himself about the cabal that took place in Berlin where he was greeted with cries and whistles. He likewise indicates that it was played on Mardi Gras of the same year. Its suppression, by the composer himself, Bonnerot believed was a great pity to music lovers. He finds it amusing that the composer included the pianist as one of the animals in this menagerie. 220. Bonnerot, Jean. “La patrie des artistes et M. Camille Saint-Saëns.” Mercure de France (March 15, 1920): 856–58.In this entry is debated the genesis of the phrase “Art does not have a country, but the artist has one” (“L’art n’a pas patrie, mais les artistes en ont une”). While it had been believed to be a quote “as old as civilization,” some attributed it to Degas or Pasteur. Bonnerot however credits SaintSaëns as the creator of the phrase, having first used it in a letter to Edmond Hippeau in 1881. This letter was subsequently reprinted in the journals Voltaire and Renaissance musicale. It is also found in the monograph Germanophilie (1916). The article traces the attribution that Pasteur first said it in 1871; however, the quote as reproduced in the article is not totally convincing according to Bonnerot. It would appear to him that Saint-Saëns did indeed coin the phrase in its completeness. 221. Durand [publishers]. Programme analytique de la 3e Symphonie en ut mineur. Paris: Durand, 1887.The author was unable to examine this source. 222. Fallon, Daniel. “Saint-Saëns and the Concours de Composition musicale in Bordeaux.” Journal of the American Musicological Society 31 (1978): 309– 25. ISSN 0003–0139.This article is a succinct study of the two winning works Saint-Saëns wrote for the Bordeaux composition contest, the Urbs Roma symphony (1856) and the Spartacus overture (1863). Fallon offers a general description of the Bordeaux Concours de Composition and brief history of the organization which sponsored it. Important information is also given concerning manuscript sources of some of SaintSaëns’s music held in the Bibliothèque Nationale, Paris. 223. Fallon, Daniel. “The Symphonies and Symphonic Poems of Camille Saint-Saëns.” Ph.D. dissertation, Yale University, 1973. 493 p.The author discusses each of the five symphonies and the four symphonic poems of the composer chronologically and places them in their social and artistic milieu. Fallon offers important information regarding manuscript sources for these works, as well as the genesis and detailed analyses for each. The author concludes that Saint-Saëns demonstrates an affinity with the so-called Parnassian poets, and that his “preoccupation with technical virtuosity has precluded any trace of individuality” and that his style is “impersonal.” Despite this, the author believes that, like the Parnassians’ attempt to revive the sonnet and formes fixes of the Middle Ages, Saint-Saëns is in his element when working with abstract and traditional forms. 224. Marty, Georges. “L’oeuvres symphoniques de Saint-Saëns.” Musica 6.57 (1907): 91.The author praises Saint-Saëns for his “distinctness of inspiration,” his form, and the “simplicity of the means he employs.” Marty specifically mentions that SaintSaëns has the ability to develop beautifully an idea which may at first appear to have

80 CAMILLE SAINT-SAËNS

little value. This he compares to the finale of Mozart’s Jupiter symphony, which he feels could easily have been written by Saint-Saëns himself. In regard to the symphonic poems, Marty believes that the composer’s ideas are not “obscured by an ideology” which is not only useless, but harmful to the music. But rather, his music is “clear” (a quality the author believes is typically French), and it contains “spirit.” 225. Medek, Tilo. “Auf der Suche nach der verlorenen Schonheit: Die funf Sinfonien von Camille Saint-Saëns.” Musica 30.5 (1976): 392–94. ISSN 0027– 4518.In this article the author addresses the problems of the numbering of Saint-Saëns’s five symphonies. Since, according to the author, Saint-Saëns only numbered three himself, there is a great deal involved in “attempting to establish and renumber” them. 226. Stegemann, Michael. “C.Saint-Saëns: Le carnaval des animaux.” In Werk-analyse in Beispielen, p. 219–28. Regensburg: Bosse, 1986. 423 p. ISBN 364922761. MT 90.W48.The author begins with a discussion of the composer’s time as teacher at the École Niedermeyer before a brief section on the reception of the composition. Stegemann divides the menagerie by animal types: mammals, birds, reptiles, and fish. But he divides them further, by the manner in which Saint-Saëns describes them musically. First are the character pieces (the introduction, the Aquarium, and the Swan); the second category is by the animal’s gait (such as the tortoise and elephant), and the third group is by the animal’s sound or voice (this includes the chickens and the cuckoo). In this section, the author also offers some harmonic analysis. The article concludes with a discussion of the element of parody in the work. Here Stegemann mentions Mozart’s Ein musikalischer Spass, Siegfried Och’s humorous folk song variations, and Karl Hermann Pillney’s Eskapaden eines Gassenhauers. However, he believes Saint-Saëns’s offering to be more subtle artistic work. He points to the various musical forms which the composer employs in his “zoological fantasy”: a march (no. 1), a waltz (no. 5), an étude (no. 3), a scherzo (no. 10), a canon (no. 2), a rondo (no. 12), a romance (no. 13), and a quodlibet (no. 14). This, along with the style and a well-developed sense of wit, continue to make the Carnival of the Animals a popular piece.

KEYBOARD MUSIC: ORGAN AND PIANO 227. Cellier, Alexandre. “Une heure avec Camille Saint-Saëns.” L’orgue 73 (1954): 122–24. ISSN 0030–5170.This is a short tribute which offers a glimpse of the composer at the console of the Église de l’Étoile. Saint-Saëns paid a visit there in 1917 to try out his Sept improvisations, which were newly composed and never been played upon an organ before, according to the author. The exchange between the composer and the author shows Saint-Saëns as an amiable, witty, and gracious visitor, who at 82 showed no signs of slowing down. Unfortunately the premiere of the works on that instrument did not materialize. The article includes a photograph of Saint-Saëns at the organ in the Salle Gaveau. 228. Cortot, Alfred. “Saint-Saëns et le piano.” In La musique française de piano, v. 2. Paris: Reider, 1930. 3 v. ML724.C7.Cortot arranges Saint-Saëns’s piano works into four categories: music for piano solo, works for piano and orchestra, four-hand piano pieces (for one and two pianos), and piano transcriptions of both his own work and that of other composers. The solo piano pieces Cortot finds rather predictable and

SPECIALIZED STUDIES 81

invariable in style: the melody is in the right hand, and the rhythm and harmonic movement is in the left. He is more enthusiastic about the concerti. Cortot finds them a magnificent contribution to the repertory, and in this section he discusses each one, comparing and contrasting them with Liszt, Schumann, and Mendelssohn. He then gives a rather limited and cursory mention of the non-concerto works for piano and orchestra, which he finds less important. The piano transcriptions Cortot believes are generally not as brilliant as the original works. They are “flat” and dull. He does recommend, however, the Caprice für les Airs de Ballet d’Alceste. In the final category, the author rather dismissively addresses the four-hand piano pieces, citing König Harald, the Caprice héroïque, and the Variations sur un theme de Beethoven as being his best pieces in this genre. An interesting insight into Saint-Saëns’s own playing is mentioned in this section. Cortot, who premiered the Caprice héroïque, indicated that the composer used the pedal very sparingly when he played. This may give some insight into Saint-Saëns’s ideas of pedaling for his own piano pieces. Despite Cortot’s respect and admiration for the composer, he seems almost begrudgingly to give Saint-Saëns a place of importance “in a period of transition” from the classical to the modern era. 229. Grace, Harvey. “Saint-Saëns: New Organ Works.” Musical Times 58.896 (1917): 448–50. ISSN 0027–4666.This article is a review of the Sept improvisations (1917). The author presents a rather cursory discussion of the pieces with no real analysis. Several times he refers to the composer’s use of plainchant quotes which he never identifies nor substantiates. While the author judges these works to be not as “lofty” as the two fantasias (in E-flat and D-flat) and the preludes and fugues, he indicates that they are “well worthy” of the composer. 230. Huré, Jean. “Saint-Saëns organiste honoraire de Saint-Séverin.” Le guide de concert 3 (1922): 9–10.The author speaks primarily of two elements of Saint-Saëns’s ability as an organist: his gift of improvisation and his taste and style of registration. The author testifies to the composer’s ability to improvise in counterpoint, not only in two and three voices, but in four-voice polyphony as well, even managing to include the melody of a motet that the choir sang at Mass in the pedal line of his improvisation. Huré describes Saint-Saëns’s subjects as being neat, clear, and incisive. At other times, Saint-Saëns’s improvisations could be more pianistic, relying upon arpeggios, and parallel sixths as an accompaniment to a pedal melody. The composer’s interest in the more “ancient” organ stops such as mutations, and the older instruments in Holland, helped the renaissance of French classical organ literature. One of his favorite forms to improvise was a trio with the very classical registration of a cornet in the soprano, a cromorne in the tenor, and a grosse flûte in the bass. 231. Lalo, Pierre. “La journée de M.Saint-Saëns: M.Saint-Saëns compositeur, pianiste et chef d’orchestre.” Le Temps (October 29, 1907): n.p. The author believed that even though Saint-Saëns had enriched French music, and was one of the great artists of the time, it was too much to say that he was without rival in the world. Lalo feels that he composed some works which were better not to have been written; however, he mentions none of these by name. The author praises Saint-Saëns’s chamber music for its purity, style, and “architecture” worthy of Mozart and Haydn. His symphonic poems he believes are some of the most perfect written in the genre. The third symphony he ranks only after those of Beethoven, while Samson et Dalila he feels is one of the best five or six French operas. These compliments notwithstanding, Lalo

82 CAMILLE SAINT-SAËNS

indicates that Saint-Saëns’s music lacks feeling and emotion, although it is clear, precise, lively, and ordered. His melodic ideas the author believes are not significant, but they are developed in an ingenious manner. For proof of this, Lalo refers the reader to the C minor Symphony. While admitting that Saint-Saëns “plays the piano well,” Lalo believes that M. Diémer play s better still. As a conductor the author feels that Saint-Saëns is “disconcerting.” He describes the composer’s conducting style as containing more “dryness than authority,” and he indicates that Saint-Saëns does not appear to “master” the orchestra, but that “he conducts for himself, rather than the musicians and the public.” 232. Morel, Fritz. “Camille Saint-Saëns organiste.” Trans. Marie-Odile Servanjean. Orgue 160/161 (1975–76): 103–16. ISSN 0030–5170.This text appeared in Musik und Gottesdienst (Zurich), 1971, no. 6, p. 132– 133, and 1972, no. 5, p. 127–139. This article presents an introduction to the organ music of Saint-Saëns by discussing his various ecclesiastical appointments, his work for the Cavaillé-Coll company, and his organ compositions. Especially insightful are descriptions of concerts at which the composer played (including the repertory performed), discussions of SaintSaëns’s style and technique, and his own account of what was played during Mass and Vespers at La Madeleine, which he wrote for his successor, Fauré. Unfortunately, the author does not supply sources for quoted materials. 233. Perry, Susan Cotton. “The Solo Organ and Harmonium Works of Camille SaintSaëns: A Chronological Analysis.” Ph.D. dissertation, University of Kentucky, 1994.Relying heavily upon various primary sources from the Conservatoire National de Musique, records at Saint-Merry, the Madeleine, and Saint-Séverin in addition to correspondence in the Durand Archives and elsewhere, the author first presents a discussion of Saint-Saëns’s career as an organist. After that, she offers a detailed stylistic analysis of the music, giving attention to the changes in his style, and assesses Saint-Saëns’s contributions to the French school of symphonic organ music. The author refutes other assertions that the composer’s musical style remained constant throughout his career, by demonstrating how, over the entire span of his composition for organ, there are significant changes in technique, harmonic language, and musical form. Perry points out that several of the stylistic elements of the French symphonic organ school attributed to Franck and Widor actually were first present in compositions of Saint-Saëns. Appendix A of this study is a description of the composer’s manuscript sketches of the Preludes and Fugues, opp. 99 and 109, and the Marche religieuse, op. 107 found in the Bibliothèque Nationale, and Appendix B contains outlines of the opp. 99 and 109 fugues and “late” period works, such as Cyprès, op. 156, the Fantasie, op. 157, and the Sept improvisations, op. 150. 234. Philipp, Isidore. “Saint-Saëns pianiste et organiste.” Musica 57 (1907): 90.This brief article is in two sections. In the first, the author gives a first-hand account of SaintSaëns’s piano technique. He says that at the age of 70, the composer was still a great virtuoso. Saint-Saëns’s articulation is described as “supple” and he created a “beautiful legato” which was no longer known to the virtuoso pianists of the day. The second part of the article is given over to an appreciation of certain works for piano, namely the five concerti, Africa for piano and orchestra, and the Rhapsodie d’Auvergne. Philippe considers Saint-Saëns’s piano works to be every bit as original as those of Liszt, whom the composer admired greatly. Since Philippe was a

SPECIALIZED STUDIES 83

professor of piano at the Conservatoire, it is little wonder that only one paragraph is given to a superficial discussion of Saint-Saëns’s organ music. 235. Philipp, Isidore. “Saint-Saëns pianiste et compositeur pour le piano.” Le guide du concert 3 (1922): 40–41.This article begins with the often-told story of the composer as a three-year-old being presented with a toy piano, upon which he carefully played a scale rather than merely making noise with it. The author recounts Saint-Saëns’s early training with Stamaty, comparing the precocious, talented child to Mozart and Mendelssohn, and tells of his youthful recitals at the Salle Playel, at the home of the Duchess of Orléans, and the Société des Concerts du Conservatoire. Most informative and interesting is Philipp’s description of Saint-Saëns’s playing, which he heard at first hand. He indicates that it had a purity of style and a correctness of expression, and that the master possessed a suppleness and surety of playing that made difficult passages seem simple. Philipp notes the composer’s nuance and beautiful legato as qualities unknown to contemporary players. Saint-Saëns allowed his fingers to do the work, not his arms. The author divides the composer’s piano music into two primary categories: traditional forms, such as the études and dance pieces (waltzes, mazurkas, etc.), and character pieces (intentions pittoresques), which include the Chanson napolitaine, Souvenirs d’Ismailia, and the like. Despite his important contributions to these genres, Philipp believes that Saint-Saëns’s most original and unique contributions to piano music are found in his concerti, where the piano is on an equal level with the orchestra. 236. Philipp, Isidore. “Souvenirs sur Anton Rubinstein, Camille Saint-Saëns et Busoni”. Revue internationale de musique nos. 5–6 (1939): 907–12.The pianist Isidore Philipp, presented to Saint-Saëns by Georges Mathais, recounts his first meeting with and impressions of the master. At his audition he played Beethoven’s op. 52 sonata and Mendelssohn’s Rondo capriccioso, both of which received praise from Saint-Saëns. However, the composer felt that Philipp was too timid, which was not good for a virtuoso. He invited the young pianist to return the next day at 9, at which time SaintSaëns “raged, cried, and encouraged” the young Philipp. It was Madame Saint-Saëns who finally interceded, complaining that her son was too hard on the boy. The lesson lasted three hours. Interesting comments Saint-Saëns shared with Philipp included: “The mania for playing too fast that reigns today destroys musical form and makes music a confusing noise.” “The abuse of the pedal is an odious defect, but one can learn to use it with discretion. The pedal ought never to confuse the performance. It is necessary to work as much as possible without the pedal. For Bach, Mozart and the clavecinists, it is necessary to almost dispense with it completely.” Saint-Saëns also demanded great reserve in the movement of the body and criticized unuseful movement of the arms and hands. These and other comments also offer insights into Saint-Saëns’s own playing. 237. Ratner, Sabina Teller. “The Piano Music of Camille Saint-Saëns.” Ph.D. dissertation, University of Michigan, 1972. 374 p.The author indicates that the purpose of her dissertation is threefold: to present documentary materials which will shed new light on the composer’s life and times; to determine a distinctive style by the examination of his piano music; and to create an annotated, thematic catalogue of his published and unpublished piano compositions. This study is divided into three parts: the first places the composer in the social and intellectual surroundings of the day; the second discusses Saint-Saëns as a pianist, investigating his education, and his association with Franz Liszt; and the third part examines the great variety of works for piano by

84 CAMILLE SAINT-SAËNS

the composer, such as pedagogical pieces, salon music, transcriptions, and virtuoso pieces. The final portion of the dissertation is an extremely important thematic catalogue of the piano works of the composer. This index is arranged chronologically and draws upon the examination of manuscript sources when at all possible. Other secondary sources consulted include Durand’s Catalogue général et thématique des oeuvres de C.Saint-Saëns (#159), Octave Séré’s Musiciens français d’aujourdhui (#79), and James Harding’s Saint-Saëns and His Circle (#122). After the incipit, the author includes dates for the composition, publication, and performances of the work, as well as publisher, dedication information, plate number, manuscript number when available, and at times various other facts about the works. In conclusion, Ratner finds that Saint-Saëns’s greatest contribution was “perpetuating the traditional French values—moderation, logic, clarity, balance, precision—during an era of little enthusiasm for instrumental works and strong foreign influence.” 238. Ratner, Sabina Teller. “A Cache of Saint-Saëns Autographs.” Notes: The Quarterly Journal of the Music Library Association 40.2 (1983–84): 487– 502. ISSN 0027– 4380.This article accounts for 68 manuscripts of the composer dating from 1844 through 1920 which were omitted from a list compiled when items were moved from the Conservatoire to the Bibliothèque Nationale. These manuscripts, most of which are compositions which have been published, include a large number of original works for piano, six of which are unpublished pieces. There are transcriptions of other composers’ works, seven of which are unpublished; and others are transcriptions of the composer’s own compositions such as Le rouet d’Omphale and the Danse macabre, both of which were published in versions for two pianos prior to their orchestral versions. The author includes a detailed list of all compositions. 239. Roger-Miclos, M. “Saint-Saëns Pianiste.” L’art musicale (November 15, 1935): 9–10.This brief article is not an examination of the composer’s technique or ability but a chronicle of his performance as a pianist. The author gives an overall view of the general repertory that Saint-Saëns played in public, his important accomplishments as a pianist, and a superficial examination of his aesthetic. It was for Roger-Miclos that Saint-Saëns composed his fantasy Africa. 240. Scherperel, Loretta Fox. “The Solo Organ Works of Camille Saint-Saëns.” D.M.A. dissertation, Eastman School of Music, 1978. 172 p. This work begins with a discussion of the composer’s background, training, and career. The author then offers some insights into the Cavaillé-Coll organs of the nineteenth century, mentioning specifically those upon which the composer played at St. Merry and La Madeleine, Widor’s instrument at Saint-Sulpice, Franck’s at Sainte-Clothilde, and Guilmant’s organ at La Trinité. Scherperel describes the basic style and layout of the typical Cavaillé-Coll organ, and gives specifications of Saint-Saëns’s instruments at St. Merry and La Madeleine. The author then proceeds in her discussion of the Preludes and Fugues (opp. 99 and 109), the Fantasies (1857, opp. 101 and 157), the Rhapsodies sur des cantiques bretons (p. 7), and the Sept improvisations (op. 150). Chapter 7 is an examination of the miscellaneous works including the op. 9, the Marche religieuse, op. 107, the Trois morceaux, op. 1, and the Elevation ou communion, op. 13. Scherperel indicates that the organ works of Saint-Saëns “are models of restrained and conservative writing, suffering only occasionally from a lapse into a technically pianistic idiom.” She also finds the two sets of preludes and fugues to be “the most difficult works to perform and [they] happen also to be musically the most successful.” In her examination of this repertory, the author offers brief

SPECIALIZED STUDIES 85

theoretical analyses, discussions of editions, and in many instances a comparison of published versions with manuscripts from the Bibliothèque Nationale, Paris. She also addresses challenges in regard to registration and performance. There are two interesting appendices: one which contains two contemporary documents on SaintSaëns as a keyboard performer, and another which is an unfinished variant of the Prelude in B major from op. 99. 241. Smith, Rollin. Saint-Saëns and the Organ. New York: Pendragon, 1992. 352 p. ISBN 0–9451–9314–9. ML 410.S15 S4.An extremely thorough investigation of SaintSaëns’s lifelong association with the organ. The author draws upon many lesserknown primary sources to give a glimpse into the musical and social life of Paris, and by so doing he provides information not easily obtainable anywhere else. In addition to detailed accounts of Saint-Saëns’s career as a church organist, and discussions of his compositions for that instrument, the author also interjects important biographical information, all of which is scrupulously documented. Rounding out the study are several valuable appendices, including five essays by Saint-Saëns, a list of organs played by the composer, a list of the prizewinners at the École Niedermeyer from 1859 to 1865, and a thematic catalogue of his compositions for harmonium and organ complete with dates of composition, publisher, dedication, and location of manuscript sources.

CHAMBER MUSIC 242. Cellier, Alexandre. “La musique de chambre de Saint-Saëns.” Le guide du concert 3 (1922): 35–36.This articles is merely a mention of some of the more popular chamber works of the composer along with complementary, albeit casual, remarks from the author. Works discussed include the two violin sonatas, the cello sonatas opp. 32 and 123, the Allegro appassionato and the Suite for cello. The piano quartet, the first and second piano trios, and the string quartet op. 112 are also mentioned as being exemplary contributions to the genre of chamber music. However, unfortunately, none of these pieces receives any substantial analysis. 243. Harkins, Elizabeth. “The Chamber Music of Saint-Saëns.” Ph.D. dissertation, New York University, 1976. 209 p.This dissertation deals primarily with accounts of the composition, publication, and primary performances of Saint-Saëns’s chamber music. The author divides the study into chapters according to genre (such as sonatas, trios, larger groups) and offers a special section on the Carnaval des animaux. Appendices include a chronological listing of the chamber works with information on manuscript location, and another with original texts of documents quoted throughout the study. Harkins relies heavily upon information from periodicals such as the Revue et Gazette Musical de Paris, Le ménestrel, and the Guide du concert, and correspondence of the composer. Despite Saint-Saëns’s admittedly conservative style, Harkins points to the experimental elements found in his chamber music, such as varying the number of movements, and expanding the harmonic boundaries of certain works. From this important study, the reader learns of Saint-Saëns’s valuable contribution to both the renaissance of French chamber music and the growth of the repertory. 244. Lalo, Pierre. “Une opinion de M.Saint-Saëns et la quatuor a cordes.” Le Temps (January 18, 1900): n.p.When asked why he had not written a string quartet, Saint-

86 CAMILLE SAINT-SAËNS

Saëns replied that he “was not ready.” But in 1899 (the year prior to this article) he wrote his first, in E minor. While it was performed in “some privileged salons” it was also heard in a concert that Colonne conducted at the Nouveau-Théâtre. Lalo believed this latter venue was totally inappropriate and not conducive to the genre of chamber music. Even though it was heard in less than ideal circumstances, the author believes the work to be “very considerable” and “comparable in importance to Beethoven’s late quartets,” although he feels musically it is closer in spirit and style to Mozart quartets. Lalo briefly examines each movement, offering his opinions and criticism. In general he praises the work for its “solidity,” “precision,” “clarity” and “charm.” 245. MacDonald, Hugh. “Saint-Saëns’s Caprice Brillant.” In Échos de France et d’Italie: Liber amicorum Yves Gérard, ed. Marie-Claire Mussat, Jean Mongrédien and JeanMichel Nectoux, p. 233–41. Paris: Société Française de Musicologie, 1997. 397 p. ISBN 2283017122. ML 55.E24.The author traces two previous versions of the finale to the Violin Concerto no. 3 in B minor, op. 61. The earliest version for piano and violin (from 1859) is entitled Caprice Brillant and the manuscript is found in the Sibley Music Library at the University of Rochester, New York. The second and later version dates from 1913 and is labeled Allegro de Concert for violin and piano, and, according to MacDonald, is not listed in any catalog of the composer’s works. The author chronicles the composer’s association with Sarasate during this time, for the first version was expressly composed for him. MacDonald also offers a fine measure-by-measure comparison of the three versions, and discusses the important changes in them. He concludes that with the final version of 1913 Saint-Saëns “had turned definitively away from the youthful exuberance of 54 years earlier and pruned his magnificent Caprice down to a lamentable echo of its original self, Brillant no longer.” 246. Payne, Donald. “The Major Chamber Works of Saint-Saëns.” Ph.D. dissertation, University of Rochester, 1965. 452 p.The author was unable to obtain a copy of this dissertation for examination.

THE CONCERTI 247. Pollei, Paul Cannon. “Virtuoso Style in the Piano Concertos of Camille Saint-Saëns.” Ph.D. dissertation, Florida State University, 1975. 103 p.In this work, the author defines and examines the specific elements of virtuosity in the piano concerti of the composer. He believed that five styles— bravura, toccata, cascades, filigrees, and simplice—“together account for every measure” of the solo piano parts in these works. The bravura style encompasses the full range of the instrument’s capabilities and dynamics and is often extensive (sometimes up to 80 measures). The toccata style he equates to a perpetuum mobile style, requiring “digital precision, clarity of articulation, and technical endurance.” The cascade style is defined as the “most subtle,” and dynamically restrained. It is accompanimental in character without being subordinate. The filigree style is primarily ornamental and accounts for brief passages in the treble range. This style is often accompanied by directions in the score such as ad libitum, quasi cadenza, dolce, and the like. Finally, the composer indicates that the semplice style “provides the only true relief from overt virtuosity.” Characteristics include concentration upon the middle range of the piano, restraint in

SPECIALIZED STUDIES 87

dynamics, texture, and rhythmic momentum. According to the author, Saint-Saëns “indulges” in this style rarely, and no complete movement can be characterized by this style completely. The dissertation is replete with musical examples which clearly help define the author’s points. Pollei believes that there is “no evidence of evolution” in Saint-Saëns’s concerto style. His “virtuosity is fully formed from the first concerto and remains constant throughout.” 248. Pollei, Paul Cannon. “Lisztian Piano Virtuoso Style in the Piano Concerti of Camille Saint-Saëns.” American Liszt Society Journal 6 (1980): 59–76. ISSN 0147–4413.The author identifies five specific elements of the virtuoso style in Saint-Saëns’s piano concerti: bravura, toccata, cascade, filigree, and simplice. He then gives specific models of each from various concerti and concert-like works with many extended musical examples. Despite the mention of Liszt and his general influence during the period, Pollei does not draw any specific musical comparisons between the two composers and their concerti. This is an admirable and in-depth examination of the piano concerti which further develops general thoughts shared by Sabina Ratner (#237). It is a study drawn from his Ph.D. dissertation (#247). 249. Rath, Edward Albert. “An Analysis of the Second and Fourth Piano Concertos by Camille Saint-Saëns.” D.M.A. dissertation, Lawrence University, Appleton, Wisconsin, 1975. 88 p.This dissertation (which includes an examination of the piano music of Zoltan Kodaly) discusses Saint-Saëns in five main sections. The first is a limited biography which relies upon James Harding’s (#122) monograph and Lyle’s (#129) biography. The second chapter is a discussion of the romantic concerto beginning with Beethoven. Rath concludes that composers such as Saint-Saëns, Chopin, and Clara Schumann contributed to the advancement of piano technique, but all were eclipsed by Liszt. Chapters 3 and 4 are examinations of the second and fourth piano concertos respectively, and his general conclusions are found in the fifth chapter. Rath notes that the melodic construction of Saint-Saëns’s concertos is most often based upon the four-measure phrase, and the predominant technique used to extend melodies is that of sequential motivic repetition. He also notes the composer’s penchant for using the third relationship, and he finds the extended use of diatonic harmonies tiresome. Rath indicates that his dissertation is directed to those pianists who are interested in preparing these concertos for performance. 250. Ratner, Sabina Teller. “Saint-Saëns’ Last ‘Concerto’." Notes: The Quarterly Journal of the Music Library Association 48 (1991): 20–25. ISSN 0027–43 80.This article is a brief discussion and explanation of Saint-Saëns’s reworking and modifying of a suite for cello and piano (op. 16) from 1862 into a suite for cello and orchestra. Excerpts from the composer’s letters to Durand and Hamelle help in the chronology of events, and the various manuscripts examined by the author pertaining to the genesis of the “new” suite, which contains different movements than the original, support the conclusion that the latter arrangement by the composer is a unique addition to his existing literature for the instrument. 251. Stegemann, Michael. Camille Saint-Saëns und das französische Solokonzert von 1850 bis 1920. Mainz: B.Schott’s Söhne, 1984. 288 p. ISBN 3795717876. ML 410.S15 S7.A biographical sketch precedes this detailed examination of the concertante works of Saint-Saëns with investigations of the composer’s approach to composition, the various formal designs of these works, and their musical style including the use of folk and Oriental elements. The first appendix is a thematic list of the composer’s concerted works, and a second one lists French solo concertos and

88 CAMILLE SAINT-SAËNS

concerted works from 1850 to 1920 in comparison to both Saint-Saëns and what was written in Europe during that same time. 252. Wells-Harrison, S. “Saint-Saëns’ Violin Concerto.” The Strad 26.303 (1915): 77–79. ISSN 0039–2049.In general the author finds Saint-Saëns’s music to possess a “dramatic vigor, grace, and symmetry,” and to show “perfection of outline and skill of the accomplished technician.” While he may not be an absolutely great composer, his music “has the power to charm and occasionally lift us to emotional heights.” After these general comments, Parker continues to analyze the Third Violin Concerto, which he believes is Saint-Saëns’s finest creation. It demonstrates “technical mastery,” “melodic invention,” and “emotional force.” With the use of many musical examples, the author examines the “well-nigh” perfect balance, as well as the “dignity and nobility” of the work. In general it is an analysis that is on the mark, but it is written in descriptive rather than technical terms. 253. Wendt, Charles. “The Saint-Saëns Cello Concerto, no. 1 in A minor, Opus 33: The Matter of a Cadenza.” American String Teacher 37 (1987): 80–82. ISSN 0003– 1313.In this brief article, the author indicates that while cadenzas are not present, and should not be gratuitously interpolated into some of the major nineteenth-century works (such as those by Dvorák, Lalo, and Schumann), there exists one written by David Popper for Saint-Saëns’s op. 33 concerto. The original manuscript, once in the possession of its composer, Popper, was given to Luigi Silva (the author’s teacher). Wendt was given access to it and copied it by hand and includes an excerpt from it in the article. It should also be noted that the insertion of a cadenza in the op. 33 concerto was never sanctioned by the composer himself, nor expected by the audience.

VOCAL MUSIC: MELODIES AND CHORAL COMPOSITIONS 254. Mahling, Christoph-Hellmut. “Bemerkungen zum Liedschaffen von Camille SaintSaëns.” In Festschrift Walter Wiora zum 90. Geburtstag, ed. ChristophHellmut Mahling and Ruth Seiberts, p. 200–16. Tutzing: Hans Schneider, 1997. 554 p. ISBN 3795–208904. ML 55.W46 F5.This article is an examination of the general song style of Saint-Saëns with reference to Schubert and Schumann. Traces of the importance of the piano accompaniment, common in German song, are present although Saint-Saëns’s own style is evident. The author includes the complete Les sommeil des fleurs and an extended excerpt of Le lever de la lune to support his comments. Mahling concludes with a quote from Servières’s monograph (#142). While not the premier exponent of the French song, Saint-Saëns nevertheless wrote songs which were tender, gracious, artistic, and exotic. And even though he often chose second-rate poetry, at the end of his life he set texts by Ronsard, Orléans, and other more important poets. 255. Noske, Frits. “Toward the Apogee of French Song.” In French Song from Berlioz to Duparc, trans. Rita Benton p. 219–31. New York: Dover, 1970. ML 2827.N613. ISBN 4862–21040.Here Noske credits Saint-Saëns as being one of the composers whose melodies, being “harmonically richer” and more “profound” than those of other French composers, set the tone for the genius of Fauré and Duparc. The author works chronologically through several of what he considers key compositions to

SPECIALIZED STUDIES 89

point out the influences of Schubert and Schumann, as well as Saint-Saëns’s own unique elements and style characteristics. Such pieces include Les sommeil des fleurs, the two German songs “Ruhenthal” and “Antwort,” the ballad “Le pas d’armes du roi Jean,” “La cignale et la fourmi,” “Plainte,” and the Mélodies persanes. While recognizing three periods of song composition, the author does not attempt to categorize Saint-Saëns’s pieces; rather he identifies the variety of ideas and style elements of the songs. Simultaneously Noske is not hesitant to criticize Saint-Saëns’s Mélodies persanes as containing “hallowed Orientalism” of “archaic modal practices,” “monotonous rhythms,” and “melismatic” passages. He also accuses the composer of not being able to respond to poets whose texts require “profound emotion,” but rather he is at his best with clever, witty lyrics. 256. Pillois, Jacques. “L’oeuvre mélodique de Saint-Saëns.” Le guide du concert 3 (1922): 42–43.The style of Saint-Saëns’s songs is primarily akin to Mozart and Schubert, according to the author. Often a rhythmic accompaniment pattern is adopted for a song, only to continue throughout in the “classical” vein. This suggests strophic settings of the poetry. Pillois specifically cites “L’attente” (1853) as being quite Schubert-like in its style, and points to “L’enlèvement” as being rather academic in its musical language. A passage from “La feuille de peuplier” is very similar to Schubert’s “Die Krähe,” despite the fact that Saint-Saëns admitted that he did not know Schubert’s song at the time. While Saint-Saëns was regularly inspired by better poets (Hugo, Banville, Quinault, Ronsard, and Corneille), he was also able, like Schubert, to take second-rate poetry and transform it into first-class music, as he did with the Danse macabre. 257. Randles, Kathleen Martha. “Exoticism in the Mélodie: The Evolution of Exotic Techniques as Used in Songs by David, Bizet, Saint-Saëns, Debussy, Roussel, Delage, Milhaud, and Messiaen.” D.M.A. dissertation, Ohio State University, 1992. 123 p.The author organizes her study by composer, and for each composer she examines specific compositions which display various techniques of exoticism. After a brief history of exoticism in French culture, she discusses the following composers and their works: David (Perles d’Orient), Bizet (Adieux de l’hôtesse arabe) SaintSaëns (Mélodies persanes), Debussy (Trois chansons de Bilitis), Roussel (Deux poèmes chinois, op. 12), Delage (Quatres poèmes hindous), Milhaud (Chansons de négresse), and Messiaen (Harawi). Randles believes that originally exoticism in Western music was merely “borrowing foreign elements as a decoration,” but through time Western music was transformed by these foreign elements. Further, she asserts that this “evolution” in music occurred simultaneously with the “widening of Europe’s knowledge of other cultures through commerce and scholarship.” While her discussion of Saint-Saëns’s Mélodies persanes is informative, she unfortunately makes no connection between these songs and the exotic paintings of Henri Regnault, the singer for whom “Sabre en main” was composed.

6 Correspondence

258. Allorge, Henri. “Lettre de Camille Saint-Saëns.” Revue musicale 17 (1936): 191–92. ISSN 0035–3736.This letter is a response by the composer to the author which corrects some misinformation in Allorge’s article “Musiciens normands” about SaintSaëns, printed in the journal Revue normande of July 1919. Saint-Saëns very graciously, albeit firmly, corrects the author’s statement that a Mme. Leseurre was his “second mother,” that pride of place he asserts was given to his great-aunt, Charlotte Masson. He also refutes the assertion that his early teacher Stamaty was like a father to him. And in regard to Wagner, Saint-Saëns declares that he was “not a friend of Richard Wagner,” but rather “very much one” of Liszt. 259. Bellaigue, Camille. “Lettres de Saint-Saëns et Camille Bellaigue.” Revue des deux mondes 4 (1926): 533–58. ISSN 0750–9278.These letters span the period of 1889 to 1921. According to the article, the letters from Saint-Saëns were given to the Conservatoire by Bellaigue, while Bellaigue’s letters to Saint-Saëns are in the SaintSaëns Museum in Dieppe. The two men write on a number of interesting topics, including Palestrina, Wagner, “Sensibility” in art, Gounod, Bach, Mozart, Beethoven, and the changes in musical taste. Speaking of the school of Palestrina, Saint-Saëns indicates that it is “impassible and inexpressive,” and reminds Bellaigue, who finds it spiritual, that it is very similar to the secular music of the day. In more general terms, Saint-Saëns tells Bellaigue (in 1907) that the role of art is to “express beauty and character; sensibility only comes after that.” Another insightful comment made by the composer is that “Sensibility in art is a germ of death; it is the same of love in life.” Saint-Saëns comments on other works, such as Boris Godounov, which he finds at times very weak, and Les Huguenots, which he says what one sees of it today (in 1921) is but a caricature, and a “disfigured work.” In the final letter, dated June 18, 1921, the reader senses that Saint-Saëns is out of his time. He quotes an article he read which stated that on the temple of art, Felicién David’s name is in gold letters, and the order of the columns is Gounod. To this Saint-Saëns comments, “Times have changed.” 260. Bertier de Sauvigny, Emmanuel de. Quelques photographies et lettres inédites de Gounod, Massenet, et Saint-Saëns. Béziers: Société de Musicologie du Languedoc, 1980. 17 p. ML 410.G7.This is a small collection of letters addressed to Léonie Osterrieth (née Brialmont) who, after the death of her wealthy husband, was a supporter of the arts, and knew such luminaries as Gounod, Liszt, Massenet, and Saint-Saëns. There are 12 letters in this volume from Gounod, with 3 pictures of him

CORRESPONDENCE 91

(one of which is taken with Georgina Weldon); 2 letters from Massenet, one from Domergue de la Chaussee, and a brief letter from Saint-Saëns. This letter is dated November 19, 1912, Paris, with a picture of the composer on the balcony of the khedive’s brother’s palace in Cairo. In the letter Saint-Saëns simply sends his regards and the photo. 261. Blakeman, Edward. “The Correspondence of Camille Saint-Saëns and Paul Taffanel.” Music and Letters 63 (1982): 44–57. ISSN 0027–4224.The letters discussed in this article chronicle the professional association of flautist and conductor Paul Taffanel with the composer from about 1892 to 1903. Much of this correspondence is held in the Saint-Saëns Museum in Dieppe. The article offers a brief biography of Taffanel and documents primarily his performances of the composer’s music such as the Symphony no. 3, Frédégonde, and Le feu céléste, an occasional piece which was dedicated to Taffanel. 262. Bonnerot, Jean. “Saint-Saëns et Romain Rolland: Lettres inédites publiées par Jean Bonnerot.” Revue de Musicologie 40 (1957): 196–200. ISSN 0035– 1601.The majority of this article consists of two letters from Saint-Saëns to Rolland from 1910. The first is perhaps the most enlightening in that the composer reveals his thoughts on his status in the contemporary musical and artistic life. He admits that at one time he was considered to be a “revolutionary,” but now he is only an “ancestor.” Within this same letter Saint-Saëns also offers a succinct statement regarding art: complexity does not make perfection. Included in this article is Rolland’s reply to Saint-Saëns’s first letter which indicates that the author will correct his error of interpretation regarding the composer’s verse in the next edition of Musiciens d’aujourd’hui. 263. Boschot, Adolphe. “Saint-Saëns et sa correspondance générale.” In Mélanges… offerts a Jean Bonnerot, p. 399–402. Paris: Libraire Nizet, 1954. 551 p. PN 503.M42.This article begins with a brief explanation of Saint-Saëns’s importance, and laments the lack of a correspondance générale such as Bonnerot achieved with Saint Beuve. Boschot, who knew the composer, points to Saint-Saëns’s unique relationships with royalty, famous musicians, and intelligentsia alike, and muses that his correspondence with Liszt, Berlioz, the queen of Denmark, and the khedive of Egypt would not only make for fascinating reading, but would shed important light on his career. Boschot himself was the recipient of letters from the composer, and he attests to Saint-Saëns’s artistic and memorable style of writing. The author specifically mentions letters between the composer and Lecocq, which were discussed by Georges Lebas in 1924 in the Revue musicale (see #270), and the letters held by Durand. While there has been some discussion of Saint-Saëns’s correspondence since this article written in 1954 (especially those mentioned in this portion of the present study), there are thousands more in the archive in Dieppe, France which have not been cataloged or discussed. We eagerly await this. 264. Briquet, Marie. Correspondance et papiers de Saint Saëns et inventaire des portraits et du mobiler conserves au Musée Saint-Saëns de Dieppe 1939– 1950. Paris: Bibliothèque Nationale Rés. Vmd. ms. 11.The author was unable to examine this source. 265. Dandelot, Arthur. “Camille Saint-Saëns: Souvenirs vécus.” Revue musicale 17 (1936): 193–98. ISSN 0035–3736.In this article the author chronicles his friendship with the composer (which began in 1887) through a series of excerpts from letters which Saint-Saëns wrote to him between 1907 and 1919. Among them are examples

92 CAMILLE SAINT-SAËNS

of the composer’s generosity toward the poor and other worthy causes; correspondence which documents the organization of his farewell concert in the Salle Gaveau; and Saint-Saëns’s admonishment of the author for organizing a Schumann festival during World War I. In a second letter on the subject Saint-Saëns explains that German music from Haydn to Mendelssohn always has a mix of “Italian and French blood” but Schumann is “purely German.” Their friendship did not suffer from this disagreement. Dandelot also mentions that it was after Saint-Saëns’s death that he wrote La vie et l’oeuvre de Saint-Saëns (#109) to “combat the present hostility against this great Frenchman.” 266. Emmanuel, Maurice. “Correspondance inédite entre Saint-Saëns et Maurice Emmanuel a propos de Claude Debussy.” Revue musicale (1947): 30–35. ISSN 0035–3736.This letter, written on August 4, 1920 from Dieppe, is a response to Emmanuel’s “interesting conference on Debussy,” in which Saint-Saëns shares his opinions of Debussy with Emmanuel. He believes that (as he mentioned in his address to the students at Fontainebleau) the need for novelty—or something new— at all cost is a “sickness of our age.” Saint-Saëns also warns that the ear can grow accustomed to dissonance (as in the Baroque). However, what touches him the most in Debussy is the “hoax,” and “the naiveté which with the public takes it.” SaintSaëns points to specific compositions. In Jardins sous la pluie, after an evocative title, Debussy offers a series of arpeggios on “Dodo l’enfant do,” and “Nous n’irons plus au bois.” And in the Dialogue de la vague et de la brise, the trumpet plays “Voilà l’plaisir mesdames.” Saint-Saëns laments the suppression of melody and even declamation in Pelléas. He accuses of Debussy of not creating a style, but “cultivating the absence of style, logic and common sense.” Emmanuel’s response is that composers should be allowed to find their own voice, and create their own “personal language.” Debussy, according to Emmanuel, is sincere in his music. He also shares with Saint-Saëns that Debussy believed that there was more than just major and minor scales (an idea not foreign to Saint-Saëns). However, he says that Debussy believed that one could have whatever scales one wanted. With a sincere tone to his letter, Emmanuel submits that Debussy never composed what he did not feel, and that while he himself does not understand all of Debussy’s musical style, there are other pieces which (like the string quartet) are “prophetic dreams.” 267. Ferrare, Henri. “Correspondance de Saint-Saëns: Lettres de Saint-Saëns a Mme. Caroline Montigny de Serres.” Revue musicale 17 (1936): 178–90. ISSN 0035– 3736.This article begins with an intimate introduction which recounts the author’s childhood memories of Saint-Saëns’s visits, and the day when his mother received the news of the death of the composer’s son, André. The heart of the article, however, is the reproduction of 14 letters dating from 1875 to 1913 from Saint-Saëns to his friend and pianist, Caroline Montigny de Serres. These letters chronicle many performances and travels of the composer, and are helpful in ascertaining his whereabouts at various times, and offer interesting information about his concert repertory. Also, these letters show his growing intimacy with Mme. de Serres, whom he addresses in 1876 as “chère Madame,” and by 1911 he employs such terms as “Ma chère Caro.” Perhaps not earthshaking in the specificity, or depth of information, they are nevertheless important documents in the overall collection of Saint-Saëns’s correspondence. 268. Gerard, Yves. “Une lettre de Tourgueniev a Saint-Saëns.” Cahiers Ivan Tourgeniev, Pauline Viardot, et Maria Malibran 11 (1987): 70–72. ISSN 0399–1326.This letter

CORRESPONDENCE 93

is one of the items bequeathed by Saint-Saëns to the Musée du Chateau at Dieppe between 1889 and 1890 after the death of his mother. The author gives a description of the letter, along with a transcription, and a photo reproduction. Even though the letter is undated, Gerard indicates that because of the content—Turgenev’s request for a manuscript of Le rouet d’Omphale to take back to Moscow for Rubinstein—the date assigned should be 1872. 269. Hamburger, Klara. “Three Unpublished Letters by Liszt to Saint-Saëns.” New Hungarian Quarterly 29.111 (1988): 222–29. ISSN 0028–5390.The author begins by offering a brief explanation of the friendship between Saint-Saëns and Liszt which is the root of these three letters held in the Saint-Saëns Museum in Dieppe, France. In the earliest letter (1867) Liszt thanks Saint-Saëns for performing his compositions (especially Tasso) at a soirée of Mme. Érard. In addition, he expresses his gratitude for the dedication of the Veni Creator, and invites Saint-Saëns to hear his St. Elizabeth in Wartburg. Requesting a list of all Saint-Saëns’s published compositions, Liszt indicates that he wishes to pass it on to both von Bülow and Sgambati. The second letter (1878) is again a thank-you note for performing Liszt’s “Gretchen” movement from the Faust Symphony, and is complimentary of Saint-Saëns’s Jeunesse d’Hercule. The final brief letter, written only a month before Liszt’s death (June 1886), pertains to Saint-Saëns’s dedication of his Symphony no. 3 (the “Organ”) to Liszt. An appendix offers all three letters in their original French. 270. LeBas, Georges. “Lettres inédites de Lecocq a Saint-Saëns.” La revue musicale (February 15 and August 1, 1924): 119–31, 121–46. ISSN 0035–3736.This, a collection of letters beginning in 1885 and continuing into the twentieth century (1901), starts with a short history of the friendship of the two musicians, and an explanation of the provenance of the letters which were given to the Saint-Saëns Museum in Dieppe. In 1915 Lecocq gave permission to organize them for a possible publication. Written in a friendly and conversational tone, these letters contain Lecocq’s opinions on Saint-Saëns’s music and writings, references to Massenet (the “sensualist”), favorable references to such works as the Carnaval des animaux and Puccini’s La Bohème. Lecocq also mentions his less than positive review of Wagner, Leoncavallo’s Pagliacci and Alfred Bruneau’s Rêve. Other topics of this correspondence include Gounod’s death, Saint-Saëns’s well-known works such as Samson et Dalila, in addition to less famous pieces such as Phryné, Javotte, and La lyre et la harpe. Lecocq also discusses the writings of Saint-Saëns including Problèmes et mystères (#290) and La crampe des écrivain (#280). While some letters are very brief, others betray an intimate and slightly garrulous correspondence between Saint-Saëns and one of France’s more popular composers of operetta. 271. McAllister, Elaine, and Joseph Baylen. “Saint-Saëns and Juliette Adam: An Unpublished Letter.” Music and Letters 50 (1969): 296–300. ISSN 0027– 4224.Juliette Adam was an editor and publisher of the political and literary journal La nouvelle revue and friend of Saint-Saëns, Gounod, Dumas fils, and Massenet, among others. An extremely bitter enemy of Germany after the Franco-Prussian War, Adam took much pleasure in Saint-Saëns’s stance against Wagner and invited him to join her in a Franco-Russian alliance to promote the arts. While the composer was willing to do so out of his fondness for colleagues such as Tchaikovsky, and out of gratitude for his own positive reception in Russia, he had very real fears of the scruples of Russian publishing practices. In this letter Saint-Saëns shares his

94 CAMILLE SAINT-SAËNS

trepidation with Adam. Unfortunately, the authors do not mention the source of this unpublished letter. 272. Nectoux, Jean-Michel. Camille Saint-Saëns et Gabriel Fauré: Correspondance (1862–1920). Paris: Publications de la Société Française de Musicologie, 1994. 160 p. ISBN 2853570045. ML 410.S15.A4.This collection contains all 138 letters between Saint-Saëns and Gabriel and Marie Fauré known to date. Within these letters there is reference made to a dozen other letters or notes which have been either destroyed or lost. The letters in this volume span Fauré’s student days through the end of Saint-Saëns’s life, and range from aesthetic discussions to more intimate and informal exchanges. Many letters contain anecdotes and betray personal qualities of both men, while in others they speak of their compositions (nos. 13, 14, 67, 95, and 120), and those of others (nos. 69, 123, and 124). The editor mentions that since Fauré did not always date his letters, some of the correspondence is dated by the postmarks of the envelopes (which Saint-Saëns saved). When this is the case, the date is accompanied by the abbreviation “c.p.” Other editorial processes include the retention of original punctuation and abbreviations. Nectoux indicates that on occasion, Saint-Saëns’s cursive handwriting posed a problem, and was not always easy to read. This valuable collection contains indices of dates, compositions, and names of people, and includes appendices containing Saint-Saëns’s article on Fauré from the Éclaire (1893), his article on Fauré’s sonata, op. 13 from the Journal de musique (1877), and Fauré’s brief posthumous article on Saint-Saëns from the Revue musicale (#116). 273. Nectoux, Jean-Michel. Camille Saint-Saëns et Gabriel Fauré: Correspondances (soixante ans d’amité). Paris: Huegel, 1973. 133 p. ML 410.S15A3.This volume begins with a discussion of the relationship between SaintSaëns and Fauré, often referring to various letters contained throughout the monograph. The second section introduces and reproduces letters from 1862 to 1912, and the third section contains those from 1913 to 1920. Nectoux reproduces 126 letters ranging from discussions of musical aesthetics and interpretation, to simple friendly greetings. There are two very helpful indices: one is a list of names and the other is a list of works by both composers which are mentioned in the letters. This monograph originally appeared in three installments in the Revue de musicologie in 1973. 274. Prod’homme, J.-G. “Dernières lettres de Camille Saint-Saëns.” Revue bleue 20 (1935): 689–94.These letters were written by Saint-Saëns during the period between March 10, 1920 and December 16, 1921, the day he died. They are written to an unidentified woman and are addressed from Paris and Hammam R’irha, Algiers. The letters show Saint-Saëns to be an optimist, and while they are primarily courteous, the composer does make some interesting comments. He mentions that he really does not believe in many of the religious traditions such as the Assumption, the Ascension, and the story of Our Lady of Loretto. In a letter of September 14, 1920, Saint-Saëns compliments Alfred Bruneau’s Penthesilée, and later in the same letter he calls [Jean] Montargis (#74) an imbecile, and he indicates that the book he wrote on the composer is “a tissue of incomprehensible errors.” The letter he wrote the day he died indicates that he is willing to see the “protégée” of the recipient, who is Polish. He speaks highly of other Polish musicians and students of his, while criticizing the Polish language as impossible: “No one should have to learn Polish!” Interestingly the master, unaware of his fate, concludes his last letter with: “One has seen so many

CORRESPONDENCE 95

astonishing things in these last years that it is necessary to despair of nothing. Let us hope therefore against all hope!” 275. Richard, Albert, comp. Camille Saint-Saëns 1835–1921 Correspondances inédite. Paris: La Revue Musicale, 1983. 176 p. ML 5.R45 no. 358–60.This collection of 83 letters is divided into three sections: 33 letters to Emile Renaud (1898–1916); 27 letters from 1907 to 1915 to unidentified recipients; and 23 undated letters, again to unidentified recipients. While in general these are valuable items to have available for study, the compiler, Albert Richard (director of the Revue musicale), has merely reproduced them directly, with no comment or annotation. Many of them are extremely difficult (if not impossible) to read in their present state. Some have been reduced, by Richard’s own admission, to fit the format of the book. Unfortunately, Richard does not even indicate the provenance of these letters or where the originals are located. 276. Vallas, Léon. “Lettres inédites de Saint-Saëns et de Vincent d’Indy.” La revue musicale 205 (1947): 79–87. ISSN 0035–3736.This article is comprised of three letters exchanged between Saint-Saëns and d’Indy, and it marks the reconciliation between the two which occurred in 1919. According to the author, these letters (two from Saint-Saëns and one from d’Indy) were in the possession of d’Indy’s granddaughter, the comtesse J.-G. d’Harcourt, who shared them with Vallas a decade before the article was written. The first, from Saint-Saëns, was sent to solicit d’Indy’s response to the former’s Les idées de M.Vincent d’Indy (#285), published in 1919. The second letter is a response from d’Indy in which he addresses several points made by Saint-Saëns’s booklet, including everything from religious music, to emotion in music of the 16th century, to rhythm, to articulations in music, to César Franck. The third letter is Saint-Saëns’s response to d’Indy in which he readdresses some of the previous points. The friendliness and cordiality which the correspondence exhibits attests to the mutual respect and maturity of the authors who ultimately agreed to disagree.

7 Saint-Saëns as a Writer

277. Chantovoine, Jean. “Saint-Saëns écrivain.” Le guide du concert 3 (1922): 44–47.The author recognizes that Saint-Saëns was a writer on many different levels: poetry, drama, philosophy, astronomy, criticism, and journalism. However, he examines the more philosophical element of the composer’s writing on music criticism. With quotes from Problemes et mystères (#290) and Harmonie et mélodie (#284), Chantavoine confirms that the composer never took a dogmatic approach to music, and thus free from any doctrine, Saint-Saëns was not bound by prejudice. This is shown in his appreciation of elements of Wagner’s Ring even though he had great “reservations” about the Wagnerian system of composition. While for some, this was construed as inconsistent, the author indicates that there are those who often exaggerate Saint-Saëns’s changes in taste, attitude and opinion, when in effect, all around him changed. He was the “fixed point of the mobile” which, while moving somewhat, continues to be the most stable element of the structure. 278. Saint-Saëns, Camille. Au courant de la vie. Paris: Dorbon-Ainé, 1916. 128 p. ML 410.S15.A11.This monograph is divided into two main sections: music and musicians, and a few “souvenirs.” Under the first category Saint-Saëns offers insights into the music and character of various musicians: Lully, Rameau, Liszt, Gounod, and Sarasate. However, in some of these essays he betrays his own aesthetic and comments upon musical style and musicological ideas. In the essay on Rameau, whom he identifies as a rival to J.S.Bach, Saint-Saëns addresses the performance of appoggiaturas and the idea of “double dotting” rhythms. In his essay on Liszt as a pianist, Saint-Saëns identifies Liszt as one of those great pianist-composers in the tradition of Mozart and Beethoven. He believes that Liszt “transformed” the piano as Paganini transformed the violin. Saint-Saëns applies Théophile Gautier’s quote that “difficulty conquered is a beauty” to the genius of Liszt. His praise of Gounod was originally written as an address for the inauguration of a monument to the composer in the Parc Monceau, although it was never delivered. In it, however, Saint-Saëns lauds the elder composer as the “head of the school” and a musician who “has become the most popular in France.” He indicates that Marguerite, Juliette, and Mireille, while daughters of Goethe, Shakespeare, and Mistral, are equally part of Gounod. In closing Saint-Saëns thanks Gounod for having shown him and all of his brothers in arms the way, and for his guidance and courage. In the essay “Divagations musicales” Saint-Saëns briefly examines the musical style of various composers. Although there are some contemporary composers whose operas Saint-Saëns

SAINT-SAËNS AS A WRITER 97

believes have neither melody, harmony, nor instrumentation, in short, nothing, Beethoven was “algebra in music.” He also praises Mendelssohn’s Elijah, the organ sonatas, music for A Midsummer Night’s Dream, and other works, even though he believes his oeuvre is “unequal.” He indicates that Schumann’s criticism of Meybeer’s Les Huguenots is not very authoritative, since his own attempt at opera (Genoveva) was unsuccessful. He finally addresses Wagner’s music, stating among other things that female virtue is found not in Helen, but in Penelope, and clarity is not Wagner, but Mozart. Saint-Saëns also believes that while the use of gods and goddesses, heroes, foreign lands, and myth are useful in opera, Charpentier has proven with Louise that these things are not indispensable. He closes by stating that “in its essence, art does not change. Only men change their opinions on its means and on its limits.” 279. Saint-Saëns, Camille. Charles Gounod et le Don Juan de Mozart. Paris: Ollendorff, 1894. 40 p. ML 410.G7.S2.Published one year after the death of Gounod, this brief monograph was written, according to the author himself, to inspire the reader to read Gounod’s own book on Mozart’s Don Giovanni, written in 1890. Saint-Saëns recounts the famous story of how he was presented with a beautiful leather-bound volume of the opera when he was only a child, and how special the opera was to both him and Gounod. Containing many quotes from Gounod’s book, Saint-Saëns’s short expose on occasion takes issue with his friend’s interpretation, notably with the use of melismas in Donna Anna’s aria “Or sai che l’onore.” Gounod praised the orchestration of this aria, while as Saint-Saëns pointed out, Berlioz thought that the response of the oboe and bassoon to Donna Anna’s intense melody was “almost comic.” This small volume is more than just an appreciation of both Gounod’s monograph and Mozart’s score. It also offers insights into Saint-Saëns’s musical aesthetic. The “quest for effect” is absent from the score. Both composers believe that Mozart’s music “complements” the text rather than overpowers it. Saint-Saëns indicates that this is true in all “beautiful eras of art; its presence [the quest for effect] is a characteristic sign of decadence.” Saint-Saëns believed that in studying the works of Mozart one will find a “complete system, perfectly structured… He spoke the language of his day, but he spoke it better than the others.” 280. Saint-Saëns, Camille. La crampe des écrivains. Paris: Calmann-Lévy, 1892. 21 p. PQ 2390.S68C7.This one-act spoken comedy was presented for the first time at the Théâtre Municipale d’Alger on March 17, 1892. It involves a female writer, Zénobia, who, having “writer’s block,” enlists her friend, the baroness, to help her as she sets up an attractive young man to work out a love scene in her play. After some confusion, and disguise, the young man turns out to be the husband of the baroness, whom she has now caught flirting. Saint-Saëns makes some interesting comments upon the stage about love. Zénobia says, “Art, literature, impressionism, symbolism, that is what occupies me, but love makes me indifferent.” This edition gives the names of those actors who premiered the work. 281. Saint-Saëns, Camille. Divagations sérieuses: Problèmes et mystères. Paris: Flammarion, 1922. 152 p. PQ 2390.S68.D58.A collection of philosophical reflections on art, beauty, life, spiritualism, and materialism, this volume includes material which was published previously under the title Problèmes et mystères in 1894. The monograph is divided into the following sections: “Prologue: Le métronome et l’éspace céleste”; “Problèmes et mystères”; “Epilogue”; “Spiritualisme et materialisme”; “Transformisme”; and “Une lettre a l’astronome d’Hirn.” The

98 CAMILLE SAINT-SAËNS

section “Problèmes et mystères” is divided into seven chapters in which Saint-Saëns discusses truth and beauty, religion and society. In the second half of this monograph, the composer examines the opposing forces of spiritualism and materialism. In this lengthy essay, Saint-Saëns introduces the thoughts of Hirn, Büchner, Flammarion, LeBon, Grasset, and Raphaël Dubois into his discussion of the struggle between religion and science. The final two sections, “Transformisme” and the letter to an astronomer, deal with nature. Saint-Saëns revels in the complexity of nature, admitting that it “escapes our intelligence” to fully understand it. The selection from his letter to an astronomer (originally written in 1889) not only demonstrates the composer’s lifelong interest in the subject, but bears witness to his belief in some higher power. Saint-Saëns closes with the following: “Like the heart, Faith has reasons that Reason does not know; it is a gift of Grace, not the product of reasoning.” 282. Saint-Saëns, Camille. École buissonnière: Notes et souvenirs. Paris: Pierre Lafitte, 1913. 363 p. ML 60.S14.This is a collection of writings including essays on his voyages to Algeria and Egypt, and on what he deemed “artistic” questions (such as “art for art’s sake,” “Anarchie in Music,” and “Decorative Art”). Another group of essays deals with religious music, while another is a set of “portrait” essays on composers (Massenet, Meyerbeer, and Offenbach) and on works such as Berlioz’s Requiem and Gluck’s Orphée. There are three essays on more scientific topics (including “Questions d’optique” and “L’Astres”), and an interesting appreciation of painters who are also musician (Ingres, Gustave Doré, among others). The “souvenirs” which begin this collection have provided biographers with valuable information on the composer’s youth, and his views on people such as Hugo and Gallet. In general the essays can be grouped into four basic types: personal remembrances, musical subjects, travelogues, and scientific investigations. English translations of many of these articles were published in 1919 as Musical Memories, translated by Edwin Gile Rich, and are addressed in annotation #286 below. For a discussion of the individual essays see items A through JJ below.The contents: Souvenirs

“Souvenirs A. d’enfance”—see 286A. “Leurs B. majestés”—see 286V. “Histoire C. d’une opéra-comique”—see 286D. “La D. salle de la rue Bergère”—Here Saint-Saëns pays a rather sentimental tribute to the performing hall in the old Conservatoire. He mentions who built it and who redesigned it, and tells of Habeneck’s programming and style. Saint-Saëns compares the hall to St. James Hall and Queen’s Hall (London). “Le E. vieux Conservatoire”—see 286B. “Victor F. Hugo”—see 286C. “Louis G. Gallet”—see 286E. Voyages “Egypte”—Here H. Saint-Saëns shares with the reader everything that he feels makes Egypt beautiful including the architecture, the vocal music, the

SAINT-SAËNS AS A WRITER 99

exotic animals and the natural beauty. He describes how Karnak was revived by a Frenchman, George Legrain, to show the grandeur and glory of its ancient times. Saint-Saëns also laments how what some people call “progress” has affected the country. “Algérie”—The I. composer praises the beauty and quietude of the country. He admits that Algiers has changed since he composed Act III of Samson in St.-Eugène, and that it is no longer the Algiers of the Suite algerienne; rather, it has become a European city. But to truly sample the charm of Algeria, one needs to go to the countryside. It was there that he was inspired to compose his song “Amions-nous.” In closing he speaks of the mysteries of the volcanoes which fascinated him. “Cesena”—Saint-Saëns J. relates his visit to this Italian town for a festival performance of Samson. He praises almost all facets of the production and cast. He also describes the wonderfully warm reception he received from the town which hailed him as the “greatest living musician.” From Cesena he went to Turino to visit the Exposition being held there, and gives his general impressions of that event. Questions artistiques “L’histoire K. et la légende dans le drame lyrique”—see 286F. “L’anarchie L. musicale”—see 286I. Le M.Chevalier Vert—Saint-Saëns describes the performance of “The Green Knight” which is a grove play (or nature piece) performed by the Bohemian Club in California. It is an outdoor play performed in the woods with improvisatory music. The composer found it to be a pleasurable experience, “pretty to watch” and the “music was agreeable.” “L’art N. pour l’art”—see 286G. “L’art O. décoratif”—For Saint-Saëns decorative art has two sources: geometric forms (“of which crystallization gives the most beautiful examples”), and natural forms (which can be “studied among plants and animals”). He further states that these forms, “skillfully stylized,” are “infinitely variable” and offer the artist “the most beautiful fields to travel.” However, if the artist leaves these paths he will fall into the “illogical” and “absurd.” Saint-Saëns also traces the use of the GrecoRoman style through various artistic time periods. “Science P. et Art populaire”—see 286H. Musique Religieuse “Musique Q. religieuse”—This was written in response to Pius X’s Motu proprio on sacred music, in which the pontiff decreed a return to “truly” sacred music. Saint-Saëns rightly asks what really makes religious music. The return to primitive chant the composer feels is not possible because we “have lost the key to this ancient art.” He questions

100 CAMILLE SAINT-SAËNS

the pope’s restrictions on the use of instruments, citing the mention of numerous stringed, wind, and percussion instruments in the psalms. Saint-Saëns believes that “each epoch, each country, understands devotion and consequently religious music, in its own manner.” This is a rather open-minded and broad-reaching attitude for someone considered so conservative. In closing, he suggests that the serious study of all art forms should begin in the seminary. He feels this would improve the taste and quality of music in church. “L’orgue”—see R. 286J. . “La S prononciation du Latin dans l’Eglise de France”—This essay is divided into two main sections. The first addresses the desire of Rome that Latin be uniformly pronounced in an Italian fashion, and in the second section Saint-Saëns takes issue with various points of Pius X’s Motu proprio. Regarding pronunciation Saint-Saëns believes, like others, that the Italian pronunciation is not necessarily the “authentic” style, and that it is unfair to demand this from people who are not familiar with the Italian language. Saint-Saëns continues to take issue with the Motuproprio on music, pointing out that despite Pius X’s preference for sixteenth-century polyphony, he does not disallow modern church music. The composer makes many good points against the conservative stance from Rome; namely, that there is little difference in style between Palestrina’s motets and his madrigals, and that various instruments, when used well, create marvelous effects in sacred music. Portraits “Joseph T. Haydn et les Sept Paroles”—see 286K. “Le U. centenaire de Liszt a Heidelberg”—see 286L. “Le V. Requiem de Berlioz”—see 286M. “Pauline W. Viardot”—see 286N. “Orphée”—see X. 286O. “Delsarte”—see Y. 286P. “Seghers”—see Z. 286Q. “Rossini”—see AA 286R. . “Jules BB Massenet”—see 286S. . “Meyerbeer”—see CC 286T. . “Jacques DD Offenbach”—see 286U. . Fantaisies scientifiques

SAINT-SAËNS AS A WRITER 101

“Notre EE. avenir”—This is a reflection on the industrial progress which SaintSaëns witnessed: from candle to electricity, from carriage to automobile, from more modest housing to forty-story skyscrapers. He comments also on the relative ease of travel between countries and continents during his time. But progress comes with a price, and in closing he offers the reader a warning that the consumption of iron has become so high, if it continues to grow at the current rate, the world will probably be without this resource in 60 years. “Questions FF. d’optique”—Possessing a continually curious intellect and interested in all things scientific, the composer here addresses the optical illusions of the mirage and Fata Morgana. He also explains the reason that the sun and moon appear to be at various sizes on different days. “Les GG astres”—Saint-Saëns shares how he came to love the science of . astronomy, naming those who influenced him from his youth. He also tells of some of his experiences observing the heavens. “Maïa”—In HH this brief essay Saint-Saëns distinguishes between reality and . illusion. To help make this point he uses music as an example. Not all countries use the same tuning system, so middle C in one country is not exactly the same “middle C” in another country, even in the welltempered system. He says that the same concept holds true with color, for we do not all perceive colors the same way. Variétés “Les II. Peintres Musiciens”—see 286W. “Une JJ. petite page d’histoire”—Saint-Saëns recounts an incident in the political life of Prince Napoleon, who in a speech about Napoleon I embarrassed the regime. Saint-Saëns describes him as a liberal who was “handsome and proud, endowed by nature with a Napoleonic expression, he was neither loose nor ridiculous…and expressed his ideas with a frankness bordering sometimes even on brutality.” 283. Saint-Saëns, Camille. Germanophilie. Paris: Dorgon-Ain, 1916. 96 p. ML 410.S15A1.Saint-Saëns maintained at various times that he admired Wagner and his music; however, he was always quick to add that he did not subscribe to the religion of Wagner. In this brief monograph, Saint-Saëns quotes Wagner as saying that “when I reread my old theoretical works, it was impossible for me to understand them.” To prove this, Saint-Saëns offers Wagner’s complex and convoluted definition of melody (as translated by Prod’homme). The composer indicates that Wagner’s system of the synthesis of all the arts is, in theory, admirable; it however “results in the suppression of the art of singing and the enlargement of the orchestra.” French Wagnerites, Saint-Saëns believes, can be divided into three categories: (1) those for whom Wagner is the “alpha and omega, those who admit nothing outside of his works”; (2) the more numerous are those “who understand nothing of Wagner’s works” but who are charmed by this exciting and turbulent music”; and (3)

102 CAMILLE SAINT-SAËNS

those like Saint-Saëns himself, who have studied the music, but “who do not delude themselves as to the defaults of the music, and find in them a source of profound aesthetic beauty.” In conclusion, Saint-Saëns includes a letter he wrote to M.Edmound Hippeau in 1881 which serves as explanation to those who believe that the composer has changed his mind about Wagner’s music. In it Saint-Saëns indicates that the “music of the future will later become, if it continues, the music of the past.” He closes his letter with that famous quote: “Art does not have a country, the artists have one.” 284. Saint-Saëns, Camille. Harmonie et mélodie. Paris: Calmann Levy, 1885. 318 p. ML 410.S15.A25.This collection of essays can be divided into those which discuss specific musicians, such as Félicien David, Liszt, Madame Carvalho, Offenbach, Berlioz, and Reber; and those essays which address larger topics, including the Ring cycle at Bayreuth, the oratorios of Handel, the Birmingham Festival, the Société Nationale de Musique, and music and poetry. The first essay, “Harmonie et mélodie” dates from 1872 to 1874, when Saint-Saëns first published it in installments in the journal Renaissance littéraire et artistique. Other essays in this collection were previously published in journals, including “Résonnance multiple des cloches,” and “L’anneau du Nibelung.” In this collection, Saint-Saëns addresses the music of Wagner a great deal, and states that he himself is “eclectic.” Specifically he says it is “neither Bach, nor Beethoven, nor Wagner that I love, but it is art.” He also observes that Wagner contradicts his own theories in the later operas. Saint-Saëns asks, “Is the system of Tristan that of The Ring?” And while sensing that the Wagnerian is “singularly intolerant,” he on the other hand, while not agreeing with everything Wagner believes, profoundly admires Wagner’s works without belonging to the “religion of Wagner.” 285. Saint-Saëns, Camille. Les idées de M. Vincent d’Indy. Paris: Éditions Pierre Lafitte, 1919. 41 p. ML 410.I7S3.In this monograph Saint-Saëns reviews d’Indy’s Cours de composition, which he finds in general to be a fine work. However, he does take issue with a number of things, including d’Indy’s concentration upon expression and passion as primary elements in music, and some of his fundamental ideas about rhythm. He also laments d’Indy’s editing of the early music examples found in the Cours de composition as being full of “superfluous indications and nuances.” In addition to his critique of d’Indy’s book, Saint-Saëns also offers the reader much insight into his own aesthetics and philosophy of music. He confesses that “to me art is form above all else.” While “amateurs” are drawn to the expressive qualities of music, the artist must look beyond that. Always a composer who appreciated rules, Saint-Saëns criticizes composers who reject all rules and restrictions, and feel that they are “laws unto themselves.” No doubt he is alluding to Debussy, Stravinsky, and Strauss, among others. Saint-Saëns takes the opportunity to state his admiration for both Wagner and Franck, although questioning why d’Indy has placed the latter upon so high a pedestal. Franck, in his opinion, does not deserve to be among the great masters of music. Rather Saint-Saëns believes Franck to be “more of a musician than an artist.” While chastising d’Indy and others who must cross the Rhine in search of truth, in this brief monograph Saint-Saëns shows himself to be a thoughtful and thought-provoking musician, erudite, and well-read, who admits that “what we know is insignificant compared with what we do not know.”286. Saint-Saëns, Camille. Musical Memories. Trans. Edwin Gile Rich. Boston: Small, Maynard and Company, 1919. 282 p. ML 410.S15.A21.This is an abridged version of Saint-Saëns’s École

SAINT-SAËNS AS A WRITER 103

buissonière of 1913. The translator does not include the essays on the composer’s voyages to exotic countries, nor does he include the three scientific articles, both areas which were important in helping to define the composer’s personality and character. Also, only one of the three essays on religious music is included in this collection. The monograph does not have any introductory material to these essays. For information on the individual essays, see items A-W below.The contents:

“Memories A. of My Childhood”—This article relates many of the popular stories and anecdotes of Saint-Saëns’s youth, including his early abilities at the piano and his compositions before the age of 10. It also confirms some details of the composer’s biography and offers some background on Saint-Saëns’s mother and his great-aunt, Charlotte Masson. “The B. Old Conservatoire”—This is Saint-Saëns’s tribute to the old conservatory building at the rue Bergère. He speaks fondly of his organ studies with Benoist, and composition lessons with Halévy. He tells stories and offers his opinions about each. Saint-Saëns indicates that much of his education was obtained at the library and the concert hall where he both studied scores and listened to music. In closing he supports in general the reforms proposed by the new director, Fauré, stating that “one must be of one’s own time.” “Victor C. Hugo”—An account of Saint-Saëns’s fondness for the literary style and person of Hugo; the composer also tells how he first met the writer and the genesis of his “Hymne a Victor Hugo.” He praises Hugo for his clear and unpretentious style, and the “rhythmic and sonorous passages” of his poetry which all but beg to be set to music. “The D. History of an Opéra-Comique”—He laments the bureaucracy and closed-mindedness of opera production. To demonstrate the machinations and miserable processes, he recounts the genesis of his own Timbre d’argent, explaining the changes, broken promises, and illogical meddling of directors and producers. “Louis E. Gallet”—This is a fine appreciation and expose of the writer with whom Saint-Saëns collaborated on many projects from La princesse jaune and Le deluge to the historical works such as Étienne Marcel and other large-scale works including Déjanire and Proserpine. The two were of a like mind with similar tastes in art and literature, and desire to be accurate in dealing with historical subjects. Like Saint-Saëns, Gallet did not buy into the hysteria for Wagner. “History F. and Mythology in Opera”—Here the composer indicates that history and myth are often closely tied: “There are myths in history, and history in myths.” In a somewhat oversimplified survey, Saint-Saëns indicates that from Lully to the end of the eighteenth century, French opera was myth-based, and as people “tired” of this, historical works were adopted. Using his own Henri VIII as an example, Saint-Saëns

104 CAMILLE SAINT-SAËNS

demonstrates the dramatic power of the historic opera, stating that “mythology offers one advantage in the use of the miraculous.” “Art G. for Art’s Sake”—According to the composer, art “responds to a special sense” which Saint-Saëns defines as a sense of style, which even “some of the savage races” have, as seen in their arms and utensils. After a discussion of music as art, with its lines, modeling, color and movement, he suggests that literature is art only in poetry, not in prose. Should art be moral or useful? Hugo has said that the sun is beautiful and useful, but it is not art. Saint-Saëns believes that art is “selfsufficient.” He says that the first prelude of the Well-Tempered Clavier expresses nothing, “but it is one of the marvel of music,” and the Venus de Milo expresses nothing but “it is one of the marvels of sculpture.” As for morality in art, he believes that “the artist sees only beautiful forms, where the gross see only nudity.” “Popular H. Science and Art”—Saint-Saëns argues that the public should be taught science and art. Too often people are given only a cursory or superficial introduction to what science is. The same is true with music, he believes. When “real singers and virtuosi” are employed by concert managers, attendance increases. Saint-Saëns implies that people are inherently more responsive to good-quality musical works and performances. “Anarchy I. in Music”—He begins with an overly simple explanation of music history, indicating that musical “development” during the Middle Ages was slow, and music of the sixteenth century is lacking in melody and expression until the dominant seventh chord introduced by Monteverdi. From this Saint-Saëns believes all “modern harmony developed.” He applies Fétis’s use of the term “omnitonic” to Wagner’s musical style. However, Saint-Saëns laments that music has gone further to the “atonic system” which “casts aside all rules and every restraint.” He believes that some composer may go further still! “The J. Organ”—Saint-Saëns praises the instruments of Cavaillé-Coll for their variety of sound and capacity. Saint-Saëns considers the organ to be a “theme with innumerable variations.” Improvisation, the composer indicates, is a “particular glory of the French school.” He likens it to oratory: “Many a lawyer who is brilliant when he talks, becomes dry as dust when he tries to write.” The composer recognizes the importance of improvisation in the liturgy and how it should be harmonious with the liturgical action. “Joseph K. Haydn and the Seven Words”—Saint-Saëns laments the general neglect of the music of Haydn, and he praises the “London” symphonies, Haydn’s orchestration, and his oratorios. He gives a brief history of the Seven Last Words, which have appeared in three forms: one for orchestra and chorus, one for orchestra alone, and another for string quartet. In Cadiz, Saint-Saëns learned of the “true” story of the

SAINT-SAËNS AS A WRITER 105

work’s genesis, which he shares. He believes that the orchestral version is the “only one worth considering.” “The L. Liszt Centenary at Heidelberg (1912)”—This is a review and critique of the Liszt festival which included performances of works such as the Legend of St. Elizabeth, Christus, various tone poems, and works for piano. Saint-Saëns praises the virtuoso pianists (Busoni, Friedheim, and Risler), and the singer, Madame Cahier, for their fine interpretations. He also praises Richard Strauss’s abilities as a conductor of Tasso and the “Mephisto Waltz.” Saint-Saëns spends a good portion of this article on reviewing Christus. “Berlioz’s M. Requiem”—The composer offers an appreciation of this unique work with comments upon the orchestration and orchestral effects. Saint-Saëns criticizes Berlioz’s treatment of voices, comparing him to Beethoven in that regard. In general, the composer considers Berlioz a genius despite his faults, and indicates that the Requiem “reminds us of the Alps with their forests, glaciers, sunlight, waterfalls, and chasms.” “Pauline N. Viardot”—A glowing expose of the famous singing actress; the composer praises his friend’s voice as “unequaled” and “marvelous.” He also praises her talent as a composer and pianist. More than a mere singer, Viardot was a learned musician who subscribed to the complete works of Bach, performed with ease music of various styles and languages, and was a friend and colleague to many great musicians. “Orphée”—This O. is an account of Saint-Saëns’s role in the edition of Gluck’s works, first begun with Mlle. Fanny Pelleton. He mentions the variety of obstacles he faced trying to make a true and authentic performing edition of the work. Saint-Saëns discusses and critiques both the French and Italian versions of the opera. He also, somewhat off the subject, gives an account of a performance of Gluck’s Armide in Germany. “Delsarte”—In P. this appreciation of the voice teacher Delsarte, Saint-Saëns describes the man as a “singer without a voice, an imperfect musician, a doubtful scholar, guided by an intuition which approached genius, in spite of his numerous faults…. The impression he gave to all who knew him was of a visionary, an apostle.” “Seghers”—Saint-Saëns Q. discusses the two main performing groups with which Seghers was associated: the Société des Concerts at the conservatory, and the Société Ste. Cécile, which he founded. The first group had a narrow scope, playing Haydn, Mozart, and Beethoven almost exclusively. However, the second organization (despite some resistance) played a more varied repertory including the works of modern French composers. It was at the Société Ste. Cécile that SaintSaëns’s E-flat major Symphony was played (being submitted as an anonymous German work), as well as pieces by Gounod, Berlioz, Reber, and Bizet.

106 CAMILLE SAINT-SAËNS

“Rossini”—This R. is an account of Saint-Saëns’s relationship with Rossini and his impressions of the composer’s reputation and personality. He found Rossini to be “intensely interested in and open-minded to ideas, which, if they were not advanced, were at least broad and noble.” Saint-Saëns believed that Rossini “made a great step toward realism” in several of his works. Also mentioned in this article are accounts of some of Saint-Saëns’s more memorable visits to Rossini’s musical evenings. “Jules S. Massenet”—According to Saint-Saëns, Massenet “is one of the most brilliant diamonds in our musical crown.” Agreeing that Massenet was not “profound,” Saint-Saëns found that his music instead had “charm, attraction and a passionateness that was feverish rather than deep.” To Saint-Saëns, Massenet’s music possessed a “gaiety” rare at the time and “frowned upon in modern music.” Despite being rivals, Saint-Saëns concludes this article with the famous quote: “Massenet had many imitators; he never imitated anyone.” “Meyerbeer”—Saint-Saëns T. comes to the defense of Meyerbeer. Despite his compositional faults (which Saint-Saëns mentions), Meyerbeer was a composer of the theater and “sought above everything else theatrical effects.” “Meyerbeer was more a musician than an artist.” Saint-Saëns recognized the debt modern composers owe Meyerbeer for his treatment of the orchestra, his handling of the chorus, and his stage setting. Meyer-beer’s music, according to the author, was an amalgamation of German, Italian, and French, “which resembled no other.” Saint-Saëns also points to other innovations in Meyerbeer’s works, such as the short preludes (instead of lengthy overtures), the “foretaste” of Leitmotifs, and development of the role of the French horn, to name a few. Saint-Saëns also discusses various operas in some detail, including Les Huguenots, Le prophète, Le pardon de Ploërmel, and L’Africaine. “Jacques U. Offenbach”—Saint-Saëns praises Offenbach’s “marvelous natural gifts” of comedy and melody; however, Saint-Saëns believes that he “wrote badly for his early education was neglected.” The composer also credits Offenbach with the first use of a dominant eleventh chord in Daphnis et Chloé. Saint-Saëns believes that Offenbach “lost all his good qualities as soon as he took himself seriously.” The Tales of Hoffmann shows traces of a “practiced pen” because Giraud finished the work and corrected some errors. “Their V. Majesties”—An account of Saint-Saëns’s meetings with various royal personages, including Queen Victoria, Queen Alexandra, Queen Christine of Spain, Queen Amelie of Portugal, Queen Margharita, Queen Hélène, and the queen of Belgium. Saint-Saëns indicates that these ladies were all charming, often musically talented, gracious, and warm. From his stories and anecdotes, it is apparent that he moved very easily in royal circles.

SAINT-SAËNS AS A WRITER 107

“Musical W. Painters”—Saint-Saëns tells of his friendship with three famous painters who were also musically gifted: Ingres, Doré, and Regnault. He speaks of each man with fondness and respect. Saint-Saëns gives the most discussion to Ingres and Regnault, for whom he had composed the song “Sabre en main.” 287. Saint-Saëns, Camille. Note sur les décors de théâtre dans l’antiquite romaine. Paris: L.Baschet, 1886. 32 p. NA 3360. S3.In this monograph Saint-Saëns believes that some of the remaining frescoes in Pompeii may point to the manner in which ancient Roman theaters were decorated. He indicates that the large openings in windows, doorways and the like give evidence to the use of périactes (tall triangular backdrops) which were used to help set the scene. His hypothesis is arguably supported by some of the ancient authors themselves, whose writings describe some of the same details of theater decoration which Saint-Saëns noticed displayed in the frescoes.288. Saint-Saëns, Camille. Outspoken Essays on Music. Trans. Fred Rothwell. New York: Dutton and Company, 1922. 186 p. ML 410.S15A3.This is a collection of the composer’s essays in an authorized translation from previously published materials. Some items, such as “False Masterpieces of Art,” an essay on Rameau, a speech written for the erection of a monument of Gounod (but not delivered), and an article on Liszt as a pianist, originally appeared in the monograph Au courant de la vie (#278). An English translation of his les idées de M.Vincent d’Indy (#285) begins this collection. There are two interesting primary source studies, one in which he examines Chopin’s compositional process of the F major Ballade using a manuscript in his possession, and another on a manuscript copy of Gounod’s libretto to Faust (which he owned). Saint-Saëns’s opinions of modern music and America, and his explanation of the origins of Samson, are also offered in this volume. For annotations of the individual essays, see items A-Q below.The contents: Part I

“Ideas A. of Vincent d’lndy”—see #285. “The B. Manuscript libretto of Faust”—The composer mentions some marginalia in Gounod’s ms., even some allusions to numbers that were cut (such as the mad scene). He mentions abridgements (the opening monologue of Faust), and there are also annotations of the “Jewel Song” which show octave leaps and other elements which are not in the final product. There are also examples of changes in the text. “Liszt, C. the Pianist”—Considered the Paganini of the piano by Saint-Saëns, the composer believed that it was not Liszt’s virtuosity but his “admirable musical nature that constituted his true worth.” According to Saint-Saëns, Liszt’s “aim was to introduce the orchestra into the piano.” He credits Liszt with new methods of fingering, and using the left hand not just for the low notes of the piano. In this essay, Saint-Saëns indicates that “a difficulty overcome is a thing of beauty,” and that “virtuosity is a powerful aid to music.”

108 CAMILLE SAINT-SAËNS

“The D. False Masterpieces of Music”—In this article Saint-Saëns refers to “pieces either ridiculous or mediocre, which the masses have thought they were compelled to admire, falling headlong into the snares set for them by publishers of too knavish a type.” These include Beethoven’s waltzes, and Weber’s “Dernière pensée” (“Weber’s Last Waltz”). “A E.Note on Rameau”—Saint-Saëns believes that Rameau was the greatest composer of the eighteenth century. He praises Durand for their task of publishing the complete works (with which Saint-Saëns was associated). He does not possess Bach’s “supreme elegance and wonderful fecundity of production, for his style is uneven and gauche, and occasionally disconcerting.” Saint-Saëns believed that “his superiority was along other lines”—his genius for dramatic effect. Saint-Saëns shows himself a musicologist here, discussing not only the tradition of lower pitch in eighteenth-century French music, and the use of the haute-contre, but also his concern for correct performance practice of appoggiaturas and double-dotting. Saint-Saëns also suggests that the rhythm of the vocal music is “approximate” and must take into account the nuance of the declamation of the text. “AF.Chopin Manuscript: The F major Ballade in the Making”—Here SaintSaëns compares the original ideas of Chopin with what became the final version of the piece. Many of these changes were simplifications. SaintSaëns indicates that the manuscript “shows us with what great reserve Chopin used the pedal because in several places where he originally indicated it he later changed his mind.” The manuscript (according to the editor of this collection) was given by Saint-Saëns to the Conservatoire library. Part II “Hélène”—This G. essay contains the composer’s thoughts on his opera written for Monte Carlo (1903–04). He offers a history of the creation of the work, begun in Cairo but ultimately completed in Paris. “Sarasate”—This H. is a very brief mention of the violinist for whom SaintSaëns composed some famous works, including the A major Concerto (which in Germany is known as a Concertstüke), the Rondo capriccioso, and the B minor Concerto. “Musical I. Digressions”—Saint-Saëns laments that many composers— including Mendelssohn and Meyerbeer—have been trampled by the followers of Wagner. He also takes Wagner to task for not being true to himself as he criticizes the use of mythological and legendary figures and stories in opera, only to turn around and use them himself. SaintSaëns ends with the famous quote that “in its essence, art does not change; men only change their minds as to its methods and limitations.” “The J. Metronome”—This is a brief plea with the Académie des Sciences to create a mathematically regulated metronome and to “induce the

SAINT-SAËNS AS A WRITER 109

government to see to it that all such instruments…should be tested and stamped, as in the case of weights and measures.” “Observations K. of a Friend of Animals”—Through several stories and anecdotes, Saint-Saëns testifies to what he believes constitutes intelligence in animals. He also mentions his experiments, which although less than scientific, he feels support his beliefs. “Impressions L. of America”—Saint-Saëns gives very favorable accounts of his visits to the U.S., especially his stay in New York. He says if you’re looking for the ancient and antique in America, you will be disappointed. However, especially in Washington, D.C., the GrecoRoman styled buildings are beautiful. In general he finds the modern conveniences, skyscrapers, and transportation quite wonderful, and his experiences with the public were very rewarding. The people “were courteous and sympathetic,” although “the woman reigns even a little too much.” Saint-Saëns also praises the American musical establishments in Philadelphia (where he heard a fine performance of Samson), and New York. He did complain of bad Chinese food, and the poor treatment of lions, foxes, and bears in the zoos. “Chopin”—The M. composer suggests that Chopin’s illness, demeanor, and attitude made him quite popular with the general public, who believed “robust health was unfashionable” and that it was a “mark of bon ton for the young to look pale and thin.” However, there were some who truly appreciated his talent and understood his music: Liszt, Sand, Thomas, and Viardot. Saint-Saëns believed that Chopin was above all a poet and compared him to Musset, both of whom “sang of women and love.” In closing Saint-Saëns calls for a critical edition of Chopin’s music to be made to correct errors and use manuscripts and original editions as the source. “Charles N. Gounod on Mozart’s Don Juan”—see #279. “The O. Origins of Samson and Delilah”—Saint-Saëns relates how the work first was conceived of as an oratorio, but at the suggestion of the librettist became an opera. He relates the stories of the initial performances of selections of the work, and Liszt’s generous promise to produce the finished product in Weimar. “Modern P. Music”—This is a speech originally delivered at Fontainebleau (home of Nadia Boulanger’s famous school) on June 26, 1921. After praising the Franco-American bonds, he admonishes young composers to “avoid all straining after originality. Allow your personal contribution to music to express itself naturally. By eagerly desiring to be original, the result is very likely to be a blend of folly and bizarrerie He continued to say that the “entire world of music is suffering from a like disease: a craving for novelty at any cost.” Saint-Saëns also advised the students to keep the past and tradition alive: “We do not keep a tree alive by hacking away at its roots.”

110 CAMILLE SAINT-SAËNS

“Gounod”—This Q. is a brief address intended for the inauguration of a monument to Gounod in the Parc Monceau. Saint-Saëns praises Gounod for his perfection of form and the sincerity of faith in his sacred works, singling out Mors et vita and the “St. Cecilia” Mass. He also praises Gounod’s ability to write for the voice in a complementary fashion and indicates that Juliette, Marguerite, and Mireille are also Gounod’s children as well as those of the great poets. He closes by thanking Gounod, who has “shown us the path to follow, guiding and encouraging when the way was dark and uncertain.” 289. Saint-Saëns, Camille. Portraits et souvenirs. Paris: Société d’Édition Artistique, 1899. 246 p. ML 410.S15.A33.This volume is a collection of various writings by the composer taken from journals including the Revue bleu, Nouvelle revue, Revue de Paris and Revue de l’art ancien et moderne in the last decade of the nineteenth century. He tells the reader in the introduction that “one will find a little bit of everything in this volume, much less polemic here than in Harmonie et mélodie [#284]. Anecdotes, souvenirs of a few great musicians whom I have known, a little general criticism.” Here the reader is transported into Saint-Saëns’s artistic life and made privy to some of his intimate confidences. The “Portraits” include the composer’s thoughts on his dear friends Berlioz, Liszt, and Gounod, along with Victor Massé and Anton Rubinstein. His “Souvenirs” include stories of Bizet, Louis Gallet, and an “Engagement of an artist” among other things. In the third and final section of the monograph, “Variétés,” Saint-Saëns offers essays on “Le defense de l’Opéra-Comique,” “Le théâtre au concert,” and the “Illusion wagnérienne.” The Contents:

“Hector A. Berlioz”—Saint-Saëns believes Berlioz to be a paradox. As a composer his most characteristic work is Roméo et Juliette, for it is in this composition that “paradox and genius shine all at once.” But the “paradoxical spirit of Berlioz” is found in his criticism, for here the “past does not exist for him,” but the pages he wrote on Beethoven’s symphonies and Gluck’s operas are incomparable.” Saint-Saëns remarks that the two main things that worked against Berlioz were the hostility of the Opéra and the coldness of the Société des Concerts. Saint-Saëns was the recipient of Berlioz’s benevolence and friendship, and he found him to be of a “superior nature.” “Franz B. Liszt”—This is a fine appreciation of the man and musician whom Saint-Saëns admired a great deal. Indicating that Liszt’s “influence on the destiny of the piano was immense,” Saint-Saëns compares this to the influence Hugo had on the French language and Paganini’s influence on the violin repertory. Interested in the orchestral possibilities of the piano, Saint-Saëns praises the Sonata in B minor, but reserves some of his more enthusiastic criticism for the orchestral works. According to SaintSaëns, Liszt “made expression the goal of his instrumental music.” He also praises the oratorios Christus and St. Elizabeth, in which Liszt

SAINT-SAËNS AS A WRITER 111

creates a genre totally different from the classical models. Despite his great admiration for Liszt’s music, Saint-Saëns recognizes that while his output was immense it was also “uneven.” “Charles C. Gounod”—This is a lengthy article which discusses the life and career of Gounod. Saint-Saëns mentions the early operatic works such as Sapho, and the Nonne sanglante, and gives special emphasis to Faust. Saint-Saëns offers personal recollections from his relationship with the composer as well as insights into the creation and history of various works. He also includes an examination of Gounod’s sacred works including the “St. Cecilia” Mass, Redemption, and Mors et vita. The musical discussions are descriptive rather than analytical, and while Saint-Saëns gives a fine explanation of Gounod’s career, there is no detailed biographical information. “Victor D. Massé”—This is a very brief mention of a composer who was once a favorite at the Opéra-comique with works such as the Chanteuse voilée, the Noces de Jeannette, and Galathée. Saint-Saëns believes him to be a “very French musician” and one whose music possesses the “diverse elements which contributed to form the French school.” Unfortunately he is not more specific. “Antoine E. Rubenstein”—In this article Saint-Saëns recounts his friendship with the famous pianist-composer. He mentions how they met, their joint concerts, and how Saint-Saëns composed the G minor Piano Concerto for him (in three weeks!). Compared to Liszt, the eagle, Rubenstein was a lion. Whether playing Mozart, Chopin, or Beethoven, “Rubenstein’s personality overflows.” As a composer, his orchestral music is marred by inexperience, according to Saint-Saëns, but he finds Lalla-Roukh and the “Ocean” Symphony to be fine works. “Une F. traversée en Bretagne”—Here Saint-Saëns tells of a boat crossing he took in Brittany where, to his pleasant surprise, the captain of the vessel was a rather accomplished oboe player who serenaded him on the trip. When Saint-Saëns tried to pay for the crossing, the captain seemed offended, for he felt this was a “service.” “Une G. engagement d’artiste”—The composer addresses the concept of physical beauty, and how it often has very little to do with talent. He uses as examples the famous actress Rachel, the ballerina Mlle. Marquet, and an anonymous Spanish zarzuela singer. “Georges H. Bizet”—This is a very brief tribute to the composer whom SaintSaëns viewed not as a rival, but as a “brother in arms,” and according to the senior composer, left behind works which are now the “glory of the French school.” “Louis I. Gallet”—In this essay Saint-Saëns pays tribute to his friend and collaborator, with whom he first worked in 1871 on Timbre d’argent. Saint-Saëns describes the librettist as possessing a “penetrating intelligence, and open to everything, a clear reason, natural spirit, talent,

112 CAMILLE SAINT-SAËNS

erudition without pedantry, making an ideal collaborator.” The two men, according to Saint-Saëns, shared the same tastes in art and literature. One of Gallet’s sonnets, “Boutique japonaise,” is reproduced in the essay. “Docteur J. a Cambridge (1893)”—This article is an account of Saint-Saëns’s visit to Cambridge where he received an honorary doctorate in music along with Max Bruch, Boïto, Tchaikovsky, and Grieg. He gives his impressions of the college, its chapel services (“with good music very well sung”), and the ceremony. He also critiques the concert, which featured music of each of the honorees. “Orphée”—Here K. Saint-Saëns offers a brief and not too detailed account of how Gluck’s Orphée was resurrected for Mme. Viardot. He indicates that there are not only the two main editions (one in Italian for a castrato, and the other in French for a tenor), but a third one Berlioz attempted, which is a cross between the other two. Thanks to Viardot, Saint-Saëns also had a hand in “arranging” some of the music for her performance. “Don L. Giovanni”—Saint-Saëns praises Mozart’s opera for its “correctness and delicacy of expression” and its “perfection of form.” He compliments Mozart on his “impeccable writing” and “refined elegance.” SaintSaëns also mentions the singers whom he had heard in the opera, and he comments on how Mozart handles some of the roles musically and dramatically. While he believes that there is a French influence on Le nozze di Figaro, Don Giovanni is purely Italian, not only in language but in style and character. Like Gounod, Saint-Saëns feels that “there are Ionic columns in Mozart,” referring to the purity and charm of the style. “La M. defense de l’opéra-comique”—This brief article serves as an apology for the genre of the opéra-comique. Saint-Saëns reminds the reader that the performers in this field (such as Caroline Duprez, Mme. MiolanCarvahlo, Roger, and Fauré) were great singers of the first order. For those who believe that the opéra-comique is a “false genre” and that it is ridiculous to mix dialogue and singing, Saint-Saëns points to Beethoven’s Fidelio and Weber’s Freischütz. He also takes a nationalistic attitude, saying that the Italian opera buffa and the gaiety of Die Meistersinger are to their countries as the opéra-comique is to France. “Drame N. lyrique et drame musical”—In this essay Saint-Saëns indicates that “one has declared that all other music than that of the modern lyric drama [is] unworthy of the attention of intelligent people.” While the composer agrees that opera is a “transitory form,” he believes that the genre does contain “all the manifestations of the dramatic art.” SaintSaëns goes further to say that “it is impossible to speak without singing, not only in verse but in prose” because of the natural movement and

SAINT-SAËNS AS A WRITER 113

inflections of the voice. This “rudimentary song,” he says, “is the origin of the vocal part of lyric drama.” But as much as Wagner would insist that “lyric drama is the supreme expression of drama,” Saint-Saëns believes that is incomplete. In closing the author compares the Wagnerian cult with religion. Many go to Bayreuth knowing nothing of music or even the German language, but they go there to be “hypnotized.” The same holds true for religious services where people await the word from above, chanted in a monotone style and in a foreign language. Regarding well-performed Italian opera versus lyric drama, Saint-Saëns says it is “better to eat dry bread than to starve to death.” “Le O. théâtre au concert”—Here the author laments that operatic selections are programmed on concerts more as a rule than as an exception. This he feels is catering to the taste of amateurs. He suggests a canon of composers and works (many of which are vocal) as alternatives to operatic excerpts. These include Haydn’s oratorios, Mendelssohn’s Elijah, Beethoven’s Christus am Oelberg, and orchestral works by Gounod, Massenet, David, Lalo, Delibes, Mmes. Grandval and Holmès, Reyer, and many others. Saint-Saëns also complains that works by Wagner appear on almost all concerts, but Berlioz is not given the same honor! “Illusion P. wagnérienne”—”This is not a critique of the works or theories of Wagner,” according to the author. However, he does take to task the cult of Wagner, and those who consider him a “Messiah.” Saint-Saëns points out some inconsistencies in Wagner’s philosophy, namely how it is “contrary to good sense to put the drama in the orchestra when its place is on the stage.” He also believes that Wagner’s “new system” almost completely “annihilates the art of singing.” The author quotes Wagner, who told Villot “that when I reread my old theoretical works I was no longer able to understand them.” To Saint-Saëns this confusing and complex style of writing not only by Wagner, but by his disciples, is part of the problem. “Le Q. mouvement musical”—This article was written for Jules Comte, director of the Revue de l’art ancien et moderne (November 12, 1897). He requested Saint-Saëns to write on the current state of music. The composer indicates that in the modern era instrumental music has been freed from the domination of vocal music, thanks to Beethoven. He complains that theatrical music has invaded the concert repertory, chasing out the symphony, and that chamber music has been abused and “prostituted” by the public. “Public taste, good or bad,” according to Saint-Saëns, is a precious guide for the artist. He closes by saying that “in the domain of art, theories are little things: works are everything.” “Lettre R. de Las Palmas”—In this letter to Madame J. Adam dated March 30, 1897, Saint-Saëns speaks primarily of two things: the challenges of setting French texts to music, and the freedom from set forms in the

114 CAMILLE SAINT-SAËNS

lyric drama. On the first topic Saint-Saëns quotes Gounod a great deal and addresses the mute syllables common in French and how some composers effectively use repetition of words not only for expression, but to help create good melody. 290. Saint-Saëns, Camille. Problèmes et mystères. Paris, 1894.See above for the annotation (#281) on this material, which was reprinted as a part of the Divagations sérieuses of 1922. 291. Saint-Saëns, Camille. Rîmes familières. Paris: Calmann-Lévy, 1902. 22 p. PQ 2390.S68R5.This volume of poetry is composed of a “Prelude” (La musique), and 18 poems which are labeled Strophes. Some of the more notable titles are “A M. Gabriel Fauré,” “A Augusta Holmès,” and “A M. Jacques D***.” The second section is comprised of six sonnets with titles such as “Charles Gounod,” “A M.Henri Second,” “Cadix,” and “Le Fouzi-Yama.” The third group of nine poems is entitled Poésies diverse and includes “Adieu,” “En Espagne,” “L‘Arabe,” and “Les dieux.” The final section is Saint-Saëns’s one-act play Botriocéphale, which he labels a “bouffonerie antique.” In general his writing style is straightforward, simple, and honest. It is not verbose and flowery. He addresses subjects such as life, death, and love in a solid and thoughtful fashion using ordinary language, much like Robert Frost. These are the fruits of well-read and insightful person.292. Tiersot, Julien. “Saint-Saëns écrivain: Sa bibliographie littéraire.” Revue de musicologie vols. 4 and 5 (1923/1924): 113–25; 165–70; 17–22. ISSN 0035– 1601.This multiinstallment article examines Saint-Saëns’s work as an author of articles appearing between 1872 and 1919, in a great variety of journals including Renaissance littéraire et artistique, Voltaire, Rappel, Revue de Paris, Echo de Paris, and the Nouvelle revue, where his scientific article “La parenté des plantes et des animaux” was published in 1906. Tiersot chronicles the great breadth of Saint-Saëns’s writings, including his monographs, upon which he offers limited but often insightful comments. He only lists the composer’s collections of poetry and theater works, providing no commentary on them. However, the author does include an informative bibliography of “brochures,” monographs, and “studies on Saint-Saëns inserted in various works,” all of which are pre-1923. The second installment of this article includes a more detailed examination of the composer’s early articles. Tiersot gives many extracts from these writings which deal primarily with “Wagnerism” and the young French school. The author lets Saint-Saëns’s own writings speak for themselves, providing the reader with valuable information, but choosing not to comment. While an important and pioneering article, it is not without inaccuracy. In one instance, Tiersot indicates that Saint-Saëns wrote a musicological paper for a conference in New York in 1915. The presentation to which he refers (“On the Execution of Music, and Principally of Ancient Music”) was delivered by SaintSaëns in San Francisco at the Panama-Pacific International Exposition in 1915 (see #151).

APPENDIX 1 Manuscript Sources for Selected Compositions

INTRODUCTION The following list of manuscript locations for the music of Saint-Saëns is a compilation drawn from important and valuable work that has taken place over the last three decades. Many secondary sources were instrumental in creating this list. It is the intention of the present writer to offer this information for the first time in one place in the hope that it will facilitate future study of the musical sources of Saint-Saëns. The information pertaining to the majority of the composer’s piano music has come from Sabina Teller Ratner’s dissertation, “The Piano Works of Camille Saint-Saëns” (#237). The third part of this valuable monograph is in fact a thematic catalogue of the composer’s piano music which, when possible, offers the location of manuscripts. In addition, the information from Ratner’s article on the 68 manuscripts of keyboard music moved from the Conservatoire to the Bibliothèque Nationale has been incorporated into the following list as well. Other important secondary sources have been used, including David Fallon’s doctoral dissertation from Yale (#223), his article in JAMS, “Saint-Saëns and the Concours de composition musicale in Bordeaux” (#222), Frits Noske’s monograph French Song from Berlioz to Duparc (#42), Susan Cotton Perry’s dissertation on the organ music of Saint-Saëns (#233), and Elizabeth Harkins’s dissertation on his chamber music (#243). The following list is arranged alphabetically by the title of the individual work, or collection, with a reference in the accompanying columns to the library in which the manuscript is housed and the number assigned to it by that institution. Manuscript Sources for Selected Compositions Title, opus number (date1)

Location/ possession Assigned number

A la lune (1856) A quoi bon entendre les oiseaux des bois (1868)

Pn2 Pn

911b 906d

116 MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS

Manuscript Sources for Selected Compositions Title, opus number (date1)

Location/ possession Assigned number

A Saint Blaise (1921) from Cinq poèmes de Ronsard Adagio in E-flat for horn and piano (nd) Africa, op. 89, G minor (1891) Africa, op. 89 (1891)—sketches Africa, op. 89 (1891) Africa, op. 89—arrangement for 2 pianos (1891) Aimons-nous (1892) Aimons-nous—orchestral version (1919) L’air de la pendule (1918)—for violin and piano L’air de la pendule (1918)—for violin and piano (sketch and partial manuscript, Musée de Dieppe) Album, op. 72 (1884) Allegro animato for cello and piano (incomplete) Allegro d’après le 3e Concerto, op. 29—for piano (ca. 1913) Allegro appassionato, op. 70 (1884)—piano solo Allegro appassionato, op. 70 (1884)— instrumental parts L’amant malheureux (1921) from Cinq poèmes de Ronsard L’amour blessé (1921) from Cinq poèmes de Ronsard L’amour oyseau (1907) from Cinq poèmes de Ronsard5 Andante tranquillo (1879) Andantino (1884) [unpublished] [Andantino]—no real title, fantasy on Wagner’s Lohengrin—for piano (1859) Angélus (1918)—orchestral version Anwort (n.d.) L’Arbre (1903) Ariel (l841) Au cimetière (1872)—from Mélodies persanes Avril (1921)—from Vielles chansons

Pn

780

Pn BC3 Pn Pn BC

896 581 916 (10) 2445 580

Pn Pn Pn

2473 2474 726

BC Musée de Dieppe4

582 –

BC

610

Pn

918

Pn

853

Pn

780

Pn

744

Pn

796

NUML6 Pn BC

164 562 618

Pn Pn Pn Pn Pn

2475 910b 905 754 799 and 925

Pn

808

MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS 117

Manuscript Sources for Selected Compositions Title, opus number (date1)

Location/ possession Assigned number

Barcarolle (1897, unpublished)—for violin, cello, organ, and piano Barcarolle, op. 108 (1898)—violin, cello, harmonium, and piano Bénédiction nuptiale, op. 9—for piano solo (ca. 1903) Berceuse, op. 38 (1871)—violin and piano Bergeronnette (1850)

Pn

895

Pn

738

BC

627

Pn Pn

730 529

Title, opus number (date1)

Location/ possession

Assigned number

La brise (1872)—from Mélodies persanes La brise (1898)—from Mélodies persanes— orchestral version Cadence pour le Concert en Ut mineur de Mozart, K. 491 (1911)—piano Cadence pour le Concert no. 1 en Ut majeur de Beethoven, op. 15 (191 5)—piano Cadences pour le Concerto en Mi b de Mozart, K. 482 (1911)—piano Cadenza pour le Concerto en Si b de Beethoven, op. 19 (1915)—piano Cadenza pour le Concert en Ut mineur de Beethoven, op. 37 (1915)—piano Canon for two female voices without text (1909) Canzonetta toscana (1863) Caprice Arabe, op. 96, A (1894) Caprice brillant for violin and piano (1859)— unpublished Caprice héroique, op. 106, C# (1898)

Pn

797

Pn

684

BC

642

BC

630

BC

640

BC

629

BC

631

DCLC7

ML96.S2

Pn BC

9126 589

Sibley, Vault (Eastman School of Music)

ML 96 S15

BC

587

118 MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS

Title, opus number (date1)

Location/ possession

Assigned number

Caprice sur des airs danois et russes, op. 91 (1887)—for fl., ob., clar., and pno. Caprice valse, op. 76—for two pianos (1885) Le Carnaval des animaux (1886) Cavatina, op. 144 (1915)— for tenor trombone and piano Chanson a boire du vieux temps (1885) Chanson de Fortunio (n.d.) Chanson triste (1872)—solo song La chasse du Burgrave (1854) Chant saphique, op. 91 for cello and piano (1892) Choeur de printemps from Haydn’s Seasons— arrangement for piano 4 hands (1855?) La cignale et la fourmi (1958) Cinq poèmes de Ronsard (1921) Les cloches (1853)8 Les cloches de la mer (1900) —orchestral version Les cloches du Soir, op. 85, Eflat (1889) Concerto en Ut mineur de Mozart—arrangement for two pianos (ca. 1917) Concerto pour piano, no. 1 in D, op. 17—arranged for wind instruments (1859) Concerto pour piano, no. 1 in D, op. 17—for two pianos (1858?) Concerto pour piano, no. 1 in D, op. 17 (1858) Concerto pour piano, no. 2 in G minor, op. 22 (1868)

Pn

875, 550 and Rés. 2383

BC

584

Pn

2456

Pn

838

Pn

798

Pn Pn

911d 793

Pn

529

Pn

850

BC

620

Pn

911e

Pn

780

Pn BC

872 2469

BC

596

BC

626

BC

622

Pn

487

Pn

489

Pn

488

MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS 119

Title, opus number (date1)

Location/ possession

Concerto pour piano, no. 3 in E flat, op. 29 (1869) Concerto pour piano, no. 4, op. 44 (1875)—first movement only Concerto no. 5, op. 103— arrangement for 2 pianos (ca. 1899) Concerto no. 5, op. 103— sketches of the finale (1896) Concerto no. 5, op, 103— sketches from 1894 Concerto no. 5, op. 103 in F for Piano (no date) (holograph in ink with corrections) Courante; Les nuits de Rhein-dubois (1858) Dans ces beau moins (n.d.) Dans les coins bleus (1880) Dans ton coeur (1872) Danse macabre—for two pianos, op. 40 (1875) Danse macabre (1872)—the solo song version Danse macabre, op. 40 (1874) El desdichado: bolero for 2 voices (1871) El desdichado: bolero for 2 voices —orchestral version (1873) Désir d’amour (1901)— orchestral version Désir de l’Orient (1871) Deux fantasies écrite pour le Luth (Vihuela) par D.Luis Milan de Valence—arrangement for piano (1898) Deux melodies (1914) Deux transcriptions sur Ascanio —for piano (1890) L’echo de la harpe (n.d.) Elégie, op. 143 (1915)—for violin and piano L’elégie, op. 160 (1919)—for violin and piano

Pierpont Morgan Library (NY) 10000 Gift 1969

Assigned number

Pn

909

BC

586

Pn

916 (5)

Pn

916 (6)

DCLC

ML96.S2

NUML

214

BC BC BC BC

888a 800 793 598

Pn

798

Pn BC

500 822

BC

2477

BC

2478

BC BC

782 632

BC BC

787 605

BC Pn

911f 741

Pn

715

120 MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS

Title, opus number (date1)

Location/ possession

Assigned number

L’enlèvement (1865) L’enlèvement (1865)—orchestral version Entr’acte de Proserpine—for two pianos (1887) L’étoile (1907) Extase (1864) from Deux melodies [Fantasy on Wagner’s “Lohengrin”]—no real title (see also Andantino above)— arrangement for piano (1859) Fantasie, op. 124 (1907)—for violin and harp Les fées (1892)—with 4-hand piano accompaniment Les fées (1892)—orchestral version Le feu de ciel, op. 115— arrangement for piano 4 hands (ca. 1900) La feuille de peuplier (1853)

BC BC

906b 2479

BC

604

BC BC

775 2480

BC

618

Pn

740

BC

790 and 24812

BC

24811

BC

624

BC

791

Title, opus number (date1)

Location/ possession Assigned number

La feuille de peuplier (n.d.)-orchestral versions Feuillet d’album, B-flat (1909) Feuillet d'album, op. 169 (1921) La fiancée du timbalier, op. 82 (1887)— orchestral version La fiancée du timbalier, op. 82 (1887)— piano version La fiancée du timbalier—arrangement for solo piano, op. 82(1889) Fière beauté (1893) Fière beauté—orchestral version (1909) Les fleurs (ariette) (1892) Le fleuve (1906) Fugue, op. 160, no. 1 (1920) Fugue (1853)—for four parts, unpublished Gloire a la France (1909)

BC

2482

BC Pn BC

641 563 505

BC

807

BC

601

Pn Pn Pn Pn BC Pn DCLC

2483 2484 8011 and 8012 774 600 535 (1) ML96.S2

MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS 121

Title, opus number (date1)

Location/ possession Assigned number

La gloire de Corneille, op. 126— arrangement for piano (ca. 1908) Le golfe de Baya (ca. 1874) Grasselette et Maigrelette (from Cinq poèmes de Ronsard, no. 4, 1920) Guitare (1851) Guitares et mandolines (1890) Hail California—for two pianos (1915) Henri VIII—Quartet arranged for piano (ca. 1883) Heures passées (1865) Honneur à l ’Amérique (1917) Hymne à la paix (for voice and orchestra, 1919) Hymne à la paix (sketch for voice and piano, 1920) Hymne à Victor Hugo—for 2 pianos, op. 69 (1881 ) Idylle (l852) La jeunesse d’Hercule, op. 50 (1877) La jeunesse d’Hercule, op. 50—for two pianos (1877) Jour de pluie (see Deux melodies, 1914, no. 1 and no. 6, La cendre rouge) König Harald Harfargar (nach Heine), op. 59 (1880) Là-bas (l892) Le lac (l850) Lamento (1850) Lever de soleil sur le Nil (for contralto and orchestra, 1898) Le libellule (1894) Le libellule (orchestral version, 1894) Les noces de Prométhée, op. 19 (1867)

BC

614

Pn Pn

907a 780

Pn Pn BC BC

906a 779 617 634

Pn Pn Pn

91215 783 709

Pn

7781

BC

577

Pn Pn BC

529 and 911c 512 576

Pn

787

BC

594

Pn Pn Pn Pn

906e 529 529 2485

Pn Pn Pn

799 2486 523

Title, opus number (date1)

Location/ possession

Assigned number

Madeleine (1892) La mama (no date) Marche du couronnement, op. 117—for piano solo (1902)

Pn Pn BC

773 24602 588

122 MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS

Title, opus number (date1)

Location/ possession

Assigned number

Marche du couronnement, op. 117 arrangement for piano 4 hands (1902) Marche interalliée, op. 155— short score (1918) Marche interalliée, op. 155 arrangement for piano 4 hands (1918) Marche militaire française/ Final de la suite algérienne, op. 60 arrangement for piano (1907) Marche religieuse, op. 107 (1897) Mass, op. 4 (1855)9 Le matin (ca. 1864) Mazurka, no. 1, op. 21 (1862) Mazurka, no. 3, op. 66 (1882) Mélodie for violin and piano (c. 1841–42) Mélodie (with orchestra) Mélodies persanes (1898) “La brise” “La splendeur vide” “La solitaire” “Sabre en main” “Au cimetière” “Tournoiement: Songe d’opium” Minuet “d’Orfée” de Gluck— arranged for piano (1873) Minuet et valse, op. 56, F (1872) Minuet et valse, op. 56, F (1878) Minuetto de J. Haydn, from Symphony no. 99 in E flat arrangement for piano (1846) Morceau, op. 94 for horn and piano (1887) La mort d’Ophélie (ca. 1857) Ne l’oubliez pas (no date) Nocturne (1900) Nous qu’en ces lieux (ca. 1844) La nuit, op. 114—arrangement for soprano soloist, women’s choir, piano and flute obbligato (1900)

BC

590

BC

609

BC

609

BC

637

Pn

915 (2)

Pn Pn Pn Pn Pn

521 906c 922a 569 854 (12)

Pn 907e [see listing for individual songs]

BC

633

BC BC BC

608 575 591

Pn

663

Pn Pn Pn Pn NUML

756 806 771 888d 166

MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS 123

Title, opus number (date1)

Location/ possession

Assigned number

Les nuits de Rhein-du-bois; Courante (1858) Ode a Sainte-Cécile (1852) Offertoire pour le Toussaint: Justorum animae (n.d.) Organ Symphony, op. 78 (1886) Organ Symphony, op. 78 (1887) —arrangement for two pianos Organ Symphony, op. 78 (1886) —sketches

NUML

214

Pn NUML

932 495

Bibl. de l’Institut de France10 Pn

2.500 298

Pn

916/8

Title, opus number (date1)

Location/ possession Assigned number

Organ Symphony, op. 78 (1886)—sketches Où nous avons aimé (orchestral version, 1918) Ouverture d’un opéra-comique inachevé (pub. 1913) Overture11 Pallas Athène (soprano and orchestra, 1894) Papillons (1918) Parysatis, ballet (3 movements)—for 2 pianos (1902) Le pas d’armes du roi Jean (1852) Le pas d’armes du roi Jean (orchestral version, 1864) Pas redouble, op. 86, B flat (1887) Pas redouble, op. 86 (1887) Peut-être (1893) Phaëton, op. 39 (1873) Piano Quartet, op. 41 (1875) Plainte (orchestral version, 1915) Le poète mourant (1851) Point d’orgue pour le Concerto en Sol de Beethoven, op. 58 (1845)—piano Point d’orgue pour le Concerto en Ré mineur de Mozart, K. 466 (ca. 1870)— piano Point d’orgue pour le Concerto en Sol de Beethoven, op. 58 (1879)—piano

DCLC Pn

ML 96.S2 673

Pn

871/1

Pn Pn

2492/1 2457

Pn BC

747 607

Pn Pn

529 2459

BC Pn Pn Pn Pn Pn Pn BC

579 922b 748 524.1 and 524.2 723 670 529 592

BC

644

BC

602

124 MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS

Title, opus number (date1)

Location/ possession Assigned number

Point d’orgue pour le Concerto a deux pianos en Mi b de Mozart, K. 365/K. 316a (1911) Polonaise, op. 77, F minor (1885) Pourqoui t’exiler (1858) Prière, op. 158 (1919)—for cello and piano Primavera (text by Charles d’Orléans, no date) Primavera (text by Paul Stewart, 1893) Quartet, op. 41 (1875)—for piano, violin, viola, and cello Quintette de “L’étoile du nord” (Meyerbeer)— arrangement for piano (1857?) Reçois mes hommages (ca. 1844) Le rendez-vous (1851) La retour de Virginie (1852) Rêverie (l85l) Rhapsodie auvergnate, op. 73, (1884) [Rhapsodie d’Auvergne] Rhapsodie d’Auvergne, op. 73 (1884) Romance, op. 27 (1866)—arrangement for violin and orchestra Romance in D major, op. 51 (1877)—for cello and piano

BC

643

BC Pn Pn Pn

585 9124 839 7491

Pn Pn

779 723

BC

593

Pn Pn Pn Pn BC

888b 529 92 903 and 529 583

Pn Pn

546 667

Pn

847

Title, opus number (date1)

Location/ possession Assigned number

Romance pour—(voice behind the scenes for voice and harp, 1892) Romance sans parole (1871) Romanza (1890) Ronde (l885) Le rossignol (1892) Le rouet d’Omphale—for piano solo, op. 31 (1881) Le rouet d’Omphale, scherzo for two pianos, op. 31 (1871) Le rouet d’Omphale (1872) Le rouet d’Omphale (n.d.)—sketches Ruhethal (1854)

Pn

803

Pn Pn Pn Pn BC

919 908 8201 904 597

BC

595

Pn Pn Pn

501 857/A 910a

MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS 125

Title, opus number (date1)

Location/ possession Assigned number

“Sabre en main” (see Mélodies persanes, no. 4, 1872) Les sapins (see Deux Mélodies, no. 2, 1914) Scherzo, op. 87 (1889) Septet, op. 65 (1879–80)—2 vlns., vla, cello, bass, trumpet, and piano Sérénade, op. 15, (1866)-version for piano and voice Sérénade, op. 15 (1865)—for violin, organ, and piano Si je l’Osais (1898) Si vous n’avez rien a me dire (1870) S’il est un charmant gazon (1915) (the first version of this is entitled Chason) Six duos, op. 8 for harmonium and piano (1858) first movement only Six études, op. 52 (1877) Six études, op. 111 (1899) No. 1—Tierces majeures et mineures, G sharp minor No. 2—Trait chromatiques, A minor No. 6—Toccata, F (d’après le Final de 5em Concerto) Six études, op. 111 (1899) No. 3—Prelude et Fugue en mi bémole mineur No. 4—Les cloches de Las Palmas Six fugues, op. 161 (1920)12 Six fugues, op. 161 (1920) No. 1—Allegro moderato No. 2—Poco allegro grazioso No. 3—Allegretto No. 6—Maestoso, poco allegro Soeur Anne (1903) Le soir (1841) (in the hand of Saint-Saëns’s great-aunt, Charlotte Masson)

Pn

804

Pn

787

BC Pn

578 536

Pn

898

Pn

893

Pn Pn Pn

7782 7888 911a and 752

Pn

915 (1)

Pn BC

574 613

Pn

564

Pn BC Pn

566 636 2467

Pn Pn

777 907a and 24601

Title, opus number (date1)

Location/ possession Assigned number

Soir romantique (1907)

Pn

779

126 MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS

Title, opus number (date1)

Location/ possession Assigned number

La solitaire (see Mélodies persanes, no. 3, 1872)13 Sonata no. 1 for cello and piano in C major, op. 32 (1872) Sonata no. 1 for cello and piano in C major, op. 32 (1872)—first finale Sonata no. 1 for cello and piano in C major, op. 32 (1872)—cello part Sonata no. 1 for violin and piano in D major, op. 75 (1885) Sonata no. 2 for cello and piano in F major, op. 123 (1903) Sonata in D major for oboe and piano, op. 166 (1921) Sonata in E-flat major for clarinet and piano, op. 167 (1921) Sonata in G major for bassoon and piano, op. 168 (1921) Sonata in B-flat major for violin and piano (1842, unpublished) Sonata for violin and piano (1850)— incomplete Sonate en Si-b mineur de Chopin, op. 35 arrangement for two pianos (ca. 1907) Sonate de Liszt, B mineur—arrangement for 2 pianos (1914) Sonnet (Souvenir de Las Palmas) (1898) Souvenir d’Italie, op. 80 (1887) Souvenir d’Ismailia, op. 100 (1895) Spartacus Overture (1863) Le splendeur vide (see Mélodies persanes, no. 2, 1872) Le splendeur vide (see Mélodies persanes, no. 2, 1910) (orchestral version) String Quartet in E major (1851–53)— unpublished String Quartet no. 2 in G major, op. 153 (1918) String Quintet in A minor, op. 14 (1855– 56) String Quintet in A minor, op. 14 (1855–56) — sketches

Pn

902

Pn

851

Pn

844

Pn

912 (1)

Pn

499

Pn

849

Pn

841

Pn

842

Pn

843

Pn

854 (2)

Pn

859

BC

606

BC

625

Pn 779 Pn 567 Pn 570 Private collection of Mme. Fauré-Fremiet Pn 810 Pn

554

Pn

722

Pn

713

Pn

721, 249

Pn

875

MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS 127

Title, opus number (date1)

Location/ possession Assigned number

String Quartet no. 1 in E major, op. 112 (1899) String Quartet no. 1 in E major, op. 112 (1899)—sketches Suite, op. 90 (1891) Suite algerienne, op. 60—for two pianos (1880) Suite in D major, op. 49 (1863) Suite in D major, op. 49 (1863)14 Symphonie in B-flat (1848 ?)—fragment of a work supposedly composed at age 1315

Pn

737 and 891

Pn

892

Pn BC

561 638

Pn Pn Pn

810 554 858

Title, opus number (date1)

Location/ possession Assigned number

Symphony in A major (c. 1850) Symphony in A major (c. 1850), “première morceau de la Symphonie en LA, première version” Symphony in A minor, op. 55 (1859) Symphony in A minor, op. 55 (n.d.)— arrangement for two pianos Symphony in C minor (1854)—unfinished work Symphony in E-flat major, op. 2 (1853) Symphony in E-flat major, op. 2 (1853)— sketches Tandis que sur vos ans (1844) Télesille (1849) Temps nouveau (see Vieilles chansons, no. 1, 1921) Theme varié, op. 97, C (1894) “Tournoiement: Songe d’opium” (see Mélodies persanes, no. 6, 1872) Transcription d’après Beethoven “Adagio from the sixth quartet” for piano (1858) Transcriptions d’après Bach (Second collection for piano solo, 1872) no. 7: Introduction et Air (extraits de la 15e Cantate) no. 8: Fugue (extrait de la 15e Sonate de violon) no. 9: Largo (extrait de la 5e Sonate de violon)

Pn Pn

493 702

Pn Pn

494 and 495 913

Pn

909

Pn Pn

496 917/d

Pn Pn Pn

907a 529 749

BC Pn

612 8043

BC

618

BC

603

128 MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS

Title, opus number (date1) and Recitatif et air (extrait de la 30e Cantate) no. 10: Gavotte en Mi, tirée de la 6e Sonate de violon no. 11: Air extrait de la 36e Cantate no. 12: Choeur extrait de la 30e Cantate Trio in G major for violin, cello, and piano (1848)—incomplete Trio no. 2 in E minor, op. 102 for violin and piano (1896) Trio no. 2 in E minor, op. 102 for violin and piano (1896)—sketches Trois preludes et fugues, op. 99 (1894) no. 1: Fugue—mm. 1–56 no. 2: Prelude—18 mm only no. 2: Fugue—incomplete Trois preludes et fugues, op. 109 (1898) no. 1: Prelude and fugue no. 2: Prelude—incomplete sketch no. 2: Fugue no. 3: Prelude—sketch of first 8 mm. no. 3: Fugue Troisième symphonie en ut mineur, op. 78 (no date) (autograph sketches) Urbs Roma, symphony (1856)

Location/ possession Assigned number

Pn

857

Pn

548

Pn

875

Pn Pn Pn Pn

915 (4) and 915 (5) 915 (3) and 915 (5) 915 (5) 915 (3)

DCLC

ML96.S2

Pn

491 and 492

Title, opus number (date1)

Location/ possession Assigned number

Valse canariote, op. 88 (1890) Valse du “Prophète” (Meyerbeer)— arrangement for piano (1857?) Valse gaie, op. 139, B-flat (1912) Valse langoureuse, op. 120, E (1903) Variations sur “Ma belle nuit, 6 sois plus lente” du “Desert” de Félicien David—arrangement for piano (1855?) Variations sur un theme de Beethoven, op. 35 (1874) Valse mignonne, op. 104 (1896) Valse nonchalante, op. 110— orchestral version of the piano piece (1921)

Pn BC

559 593

BC BC BC

616 615 623

Pn

916

Pn Pn

568 666

MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS 129

Title, opus number (date1)

Location/ possession Assigned number

Les vendanges (hymne populaire for Pn 668 unison voices and orchestra, 1898) Le vent dans la plaine (1912) Pn 753 Vénus (duet for tenor and baritone, Pn 792 1896) Vers la victoire, op. 152—a short BC 621 score sketch (ca. 1917) Vers la victoire, op. 152— BC 611 arrangement for piano 4 hands (1917) Vers la victoire, op. 152—piano BC 619 (1917) Victoire (1918) Pn 786 Villanelle (see Vieilles chansons, no. Pn 809 3, 1921) Violin Concerto no. 7, op. 20— Pn 917/d sketches Violons dans le soir (with violin Pn 795 and 924 obbligato, 1907) Vive la France (1914) Pn 785 Voice by the cedar tree, A (1871, in Pn G5345 Songs from the Published Writings of Alfred Tennyson, Poet Laureate, Set to Music by Various Composers, ed. by W.G.Cusius) Wedding Cake Waltz, op. 76—for BC 584 two pianos (1885) MISCELLANEOUS ITEMS Carnet (workbook) of unidentified DCLC ML31 H43a no. 77 case sketches; holograph in pencil; 10×17; one volume; unpaginated; no date. Notes 1. When possible the date of composition is given, when that was unavailable, the date of publication has been given instead. 2. Pn is the abbreviation for the Bibliothèque Nationale. 3. BC is the abbreviation for the Bibliothèque du Conservatoire, Paris. 4. As the colleciton of Saint-Saëns material housed at the Musée in Dieppe is not yet cataloged, there is currently no number for this MS. 5. According to Frits Noske (#42) this song was inserted in the cycle, Cinque poèmes de Ronsard, in 1921. 6. NUML is the abbreviation for the Northwestern University Music Library, Evanston, IL. I owe much thanks to Mr. Don L. Roberts, Head Music Librarian, and Ms. Margie Wood for their assistance in consulting the manuscripts and rare books of Saint-Saëns owned by the library. 7. DCLC is the abbreviation for the Library of Congress, Washington, D.C.

130 MANUSCRIPT SOURCES FOR SELECTED COMPOSITIONS

8. In his dissertation (#223), Fallon indicates that the date of 18 April 1853 has been lightly penciled in the score by an anonymous hand. 9. According to David Fallon (see #222) the 1908 Catalogue générale et thématique des oeuvres de Camille Saint-Saëns gives the date of 1856 for the composition of this Mass, although the MS is undated. 10. According to Fallon, Saint-Saëns donated the manuscript of this symphony to the Bibliothèque de l’Institut de France in 1918. He had been elected to the Institut in 1881. 11. David Fallon indicates (#223) that this overture without a title was first performed in Bordeaux in 1860. He does not assign a date to the composition, nor any title. 12. Manuscripts for all six fugues are included in BC MS 636. 13. According to Frits Noske (#42), the title Mélancolie appears as the title in the manuscript. 14. Fallon indicates that there is another manuscript of this suite in the private collection of Madame Fauré-Fremiet (#223). 15. This information comes from David Fallon (#223).

APPENDIX 2 Manuscript Sources for Selected Correspondence

Manuscript Sources for Selected Correspondence Addressee and Date

Library Location Numbers

Anonymous. (1885–1920)

NUML

Anonymous. (June 1, no year)

DCLC1

Astruc, G. (1907–1916) Aguéant, Pierre (1918–1920) Aussenac, M.A. (1917) Bellaigue, Camille (1890–1921) Blondel, R. (1907–1915) Boutarel, A. (1911) Broussan, L. (1910–11) Bruneau, Alfred (1904) Cammillia[?] (1892) Carré, Albert (1899–1911) Carré, Léon (1899) Cazaux (1892) Charpentier, Mme. [?] (1888) Colonne, Eduard (1908) Coquelin, C. (1892–1907) Damrosch, Walter (1906, 1920– 21)3 Dubois, Théodore (1880–1921)

Pn NUML2 Pn Pn Pn Pn Pn NUML NUML NUML DCLC Pn NUML Pn NUML DCLC

Addressee and Date

Library Location Numbers

female friend [anon.] (1913) gentleman (1914)

NUML NUML

Pn

LTR.S2, nos. 56–59 [4 letters]; nos. 62–65 [4 letters]; no. 73 [1 letter]; nos. 91–93 [3 letters] Music Division Misc. Manuscripts (XX Délibes) 137–152 LTR.S2, nos. 35–38 [4 letters] 153 85–136 77–83 162 70–73 LTR.S2, nos. 81–2 [2 letters] LTR.S2, no. 60 LTR.S2, nos. 39–51 [13 letters] Heineman Coll., ML 31 H43i 58 LTR.S2, no. 74 160 LTR.S2, nos. 83–87 [6 letters] Damrosch-Blaine Collection, Box 6, Folder 21 200–218

LTR.S2, no. 90 LTR.S2, no. 88

132 MANUSCRIPT SOURCES FOR SELECTED CORRESPONDENCE

Addressee and Date

Library Location Numbers

Halpérine-Kaminsky (1898– 1914)

NUML

Hippeau, E. (1882) Holmès, Augusta (1889) Imbert, H. (n.d.) Ketten, M. (190.?) Kufferalte, Monsieur (1914) Lamoureaux, Charles (1881– 1884) Lemoine (1887) Malherbe, Charles (n.d.) Marie, G. (1892–1916) Martenot, R. (1904) Massenet, Jules (1896)4 Peyton, Richard (1879?) Philipp, I. (1871) Philippe, E. (1888) Picot, L. (1877) Pierat, Madme (1915) Pierre, C. (1890) Pioche, G. (1909) Poincaré, Raymond (1893; 1913; 1921) Porel, P. (1892) Renaud, Armand (1892) Rétry, E. (n.d.) Reyer, E. (1887) Ropartz, Guy (n.d.) Saint-Foix Georges de (1912) Sarasate, Pablo de (1864) Sardou, Victorien (1900) Schatté, A. (1893) Schmitt, F. (1900) Serres, Caroline de ([18]93) Société de Concerts du Conservatoire (1871–1908) Soudée, A. (n.d.) Thomas, A[mbroise] (1878– 1881)

Pn Pn Pn NUML NUML Pn Pn Pn Pn Pn DCLC NUML Pn Pn Pn DCLC Pn NUML NUML

LTR.S2, no. 75–77; [3 letters]; nos. 78.1, 78.2, 79a; 79.b, 80 [5 letters] 55 75 5 LTR.S2, no. 55 [1 letter] LTR.S2, no. 54 [1 letter] W39 (68bis,173, 213), W39 (224, 310) 49 31 166–169, 171, 173–194 W46 (64) ML94. M17 LTR.S2, no. 89 16 15 76 (copy) ML 95.5 .S15 Rés. Vmc. 52 (3) LTR.S2, no. 53 [1 letter] LTR.S2, nos. 29–33 [5 letters]

Pn NUML Pn Pn Pn Pn Pn NUML Pn Pn NUML Pn (11 and 12)

170, 172 LTR.S2, nos. 52, 61 [2 letters] 4 30 161 165 65 LTR.S2, nos. 25–28 [4 letters] 59 154–155 LTR.S2, no. 94 195–197, Ms 17668

Pn Pn

62 1–3

MANUSCRIPT SOURCES FOR SELECTED CORRESPONDENCE 133

Addressee and Date

Library Location Numbers

Thorel, Mme. Edouard (1917 and 1920) Thorel, René (1908–1920)

NUML

LTR.S2, nos. 22–24 [3 letters]

NUML

LTR.S2, nos. 1–21 [21 letters]

Addressee and Date

Library Location

Torchet, J. (1885) Trélat, J. (1881–1899) Vallas, Léon (1919) Villon (1899–1901)

Pn Pn Pn NUML

Numbers

60 156–159, 163, 164 84 LTR. S2, nos. 66–72 [7 letters] Wagner, E. (1918–1920) Pn 198, 199 Weckerlin (1888) Pn 19, 22 Correspondence from Various Individuals to Saint-Saëns Sender of the Letter and Library Location Numbers Date Breton y Hernandez, Pn 1.la Tomas (1913) Fauré, Gabriel (nd) Pn 18 Godard, Benjamin (1887) Pn 7 Gounod, Charles (1892) Pn 38 Trélat, Marie (1893) Pn 2 Notes 1. DCLC is the abbreviation for the Library of Congress, Washington, D.C. 2. NUML is the Northwestern University Music Library (Evanston, Illinois). I am extremely grateful to Mr. Don L.Roberts, Head Music Librarian, and Ms. Margie Wood, Music Library Acquisitions, for their kind assistance in this and other matters concerning the research for this volume. 3. This folder from the Damrosch-Blaine Collection contains seven letters from SaintSaëns, and one notated and autographed calling card. 4. This brief letter to Massenet is found inserted between pages 26 and 27 in the monograph Massenet: L’Homme—Le Musicien by Louis Schneider, Paris, 1908.

APPENDIX 3 The Saint-Saëns Museum at the ChâteauMusée in Dieppe

The Saint-Saëns Museum was originally and officially begun in 1889 when the composer bequeathed a number of personal and family effects to the city of Dieppe after the death of his mother. These first items consisted primarily of furniture inherited from his parents and his great-aunt, Charlotte Masson. From that time forward materials were deposited almost annually, and the museum was opened on July 1, 1890 in a salle des bains chauds of the chateau. In 1904 the first catalogue général of the collection was issued by Ambroise Millet, the first conservator, and lists various documents (letters, invitations, concert programs), books, scores, manuscripts, objets d’art, furniture, and photographs. Following the death of Saint-Saëns in 1921, his secretary Jean Bonnerot and others continued to make contributions to this important collection.1 As of 1997, according to the present curator of the Château-Musée de Dieppe, Pierre Ickowicz, the collection contains about 15,000 letters to and from Saint-Saëns, with only about 2,000 classified and inventoried, in addition to scores, books, and the many objets d’art (furniture, paintings, busts, vases, medals, and the like). Currently M. Ickowicz and Yves Gérard of the Conservatoire National Supérieur de Musique de Paris are working diligently to organize the collection for the use of serious researchers.2 It is the first curator, Ambroise Millet, whose Catalogue du Musée de Dieppe of 1904 (#158) continues to be an important, general source of information pertaining to the items housed in the Musée Saint-Saëns. The following list is derived from Millet’s monograph, which although incomplete and at times quite unspecific, nevertheless offers the researcher helpful information.3 These items are listed in the categories defined by Millet himself, and when at all possible, specific numbers are given. This section of the current book is meant to give the researcher and student of Saint-Saëns a glimpse into the riches of the Dieppe collection. Objets d’art, furniture, medallions, and the like are omitted here. The present writer has chosen to concentrate upon correspondence, manuscripts, and printed materials mentioned in Millet’s catalog.

THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE 135

Selected Materials in the Saint-Saëns Museum, Dieppe as listed in Ambroise Millet’s Catalogue du Musée de Dieppe (1904) Item Description I.

II.

Numbered letters Dossier de 20 lettres, se rapportant au musée C. Saint-Saëns4 Berlioz, Hector Bizet, Georges Clairin, Georges Delibes, Léo Fauré, Gabriel Gallet, Louis Gounod, Charles Lassalle, [Jean] Massenet, Jules Sanderson, Sibyl Thomas, Ambroise Vacquerie, Auguste Verdi, Giuseppe Viardot, Mme. Wagner, Richard Manuscrits de Camille Saint-Saëns: prose, poésie, musique Album donné à Camille, 1842, quelques compositions. Cahier de 6 feuillets remplis; autre de 18 feuillets remplis. Grand cahier cartonné, une des premières partitions de SaintSaëns, agé de dix-huit ans: final de la lre symphonie dans sa ler version, 33 pages. Super flumina Babylonis. Cahier, 34 p. sign. aut. Cahier pour instruments, violons, etc. Macbeth. Grand cahier de 24 feuillets. Partition autogr. Romance sans titre, 4 feuillets. Sign. aut. La Marquise de Présalé. Grande scène lyrique. Cahier de 6 feuillets, sans sign., ler avril 1857, dédié a Mme. Forgues; plus 3 autres feuillets doubles sous le même titre. Proserpine. Opéra comique. Livret de A. Vacquerie. Partition originale avec sign. aut. en un volume à la Bibliothèque publique. Modifications apportée au livret de Proserpine, 3e et 4 e actes, par Louis Gallet et lettre autographe de Vacquerie, du 30 août 1877. Valse, 1 grandes pages de musique; autre 2 pages. Improvisation, 1 grandes pages de musique sans paroles. Choeurs d’Antigone.

Item Number

2095 2096 2097 2098 2099 2100 2101 2102 2103 2104 2105 2106 2107 2108 2109 2110 2111 2112 2113

2114 2115 2116 2117 2118

2119

2120 2121 2122

136 THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE

Item Description Rimes familières, comprenant 16 pièces qui ont servi à l’impression, plus une a Jules Massenet, inédite. Le Pays merveilleux, 2 pages. Botriocéphale, bouffonnerie comique, un faux-titre et de 10 pages. Problèmes et mystères, prose, 48 pages et notes détachées. Item Description Le Théâtre au concert, article de 15 pages, avec signature aut., publié dans la Nouvelle Revue de Mme. Adam. A Léon L , une page de poésie: “A peine revenu..." Août 1889. Réponse a Louis Gallet, une page. Juillet 1889. Tantah (Égypte), poésie, 2 pages. La Libellule, duo pour deux voix de femme. Poésie de Camille Saint-Saëns, musique de Paul Roy. 9 pages. Sign. aut. de P. Roy. Alger, le 12 mars 1893. Fragments arrangés pour tableaux vivants, organisés par la princesse de Metternich, a l’occasion de la fête de la comtesse de Pourtalès, a l’hôtel de la Monnaie. Le fragment: Antoine et Cléopatre est de Camille Saint-Saëns, paroles et musique, 10 pages. Les autres fragments: Roméo et Juliette, Hamlet, Lady Macbeth de divers auteurs, 15 pages. Désir de l’Orient, une page de poésie avec sign. aut. Frédégonde, opéra, 3e acte, musique sans paroles, 35 grandes pages. Fantasie pour orgue, dédiée a S.M. la reine Elisabeth de Roumanie, par Camille Saint-Saëns, membre de l’Institut, commandeur de la Légion d’honneur, 10 grandes pages. Sign. aut. 1895. La mort de Thaïs, dédiée a Mme. Jules Massenet. Musique sans paroles, 13 grandes pages. Sign. aut. octobre 1895. Bibliographie musicale. La Musique française, par M. Lavoix fils; de la musique en France depuis Rameau: Lettres de l’ouvreuse. Articles de 19 pages avec sig. aut. pour la Nouvelle Revue de Mme. Adam. Louis Gallet, article. A Jean Lassalle, pièce de vers. Discours pour l’inauguration du monument de Gounod. 1 p. aut. sign. Ode a Berlioz, pour son centenaire. 3 pages. Vers sur Adolphe Adam, pour son centenaire, 14 juillet 1903. 1 p. aut. sign.

Item Number 2123 2124 2125 2126 Item Number 2127 2128 2129 2130 2131

2132

2133 2134 2135

2136 2137

2138 2139 2140 2141 2142

THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE 137

Item Description

III.

Discours prononcè a l ‘inauguration du monument de Louis Gallet, a Valence. Article a propos de la Juive d’Halévy. 7 p. aut. sign. Réponse de M.A. Vallette (Mercure de France), sur l’interrogation concernant le traité de Francfort, 26 septembre 1897. Partitions et pieces musicales manuscrites de divers (alphabet-ized by composer): Boëly, A.-J.-F. Préude pour l’orgue ou piano. Cahier de 4 feuillets. 28 juillet. Czerny, Carl. Prélude, moda fugo. Comp. o. 2 feuillets. Gigout, Eugène. Les modes de plain chant. 4 pages de musique. Gounod, Charles. Livret autographe de l’opéra Faust, actes III, IV et V, paroles par Michel Carré et Jules Barbier, avec corrections, et la notation autographe de Gounod. (Don de l’auteur.)

Item Description Gluck. Copie de l’ouverture d’Alceste et corrections. Haendel. Gavotta in Othon. 1 feuillet. Jaëll, Marie. Les Heures de Camille Saint-Saëns, huit quatrains, musique de Mme. Jaëll. 3 grandes pages. Lecocq, Charles. Barcarolle et Les deux canards. Liszt, François. Valse mélancolique. 1 page avec sign. aut. Mauduit, organist de Saint-Severin au XVIe siècle. Chanson de Passerat, mise en musique par Mauduit. Copie par M. Périlhou. Mortarino, Antonio. Compuesto por el Maest. D. Cahier. Morphy, Guillaume. Salmo, psaume 148. Laudate Dominum de Coelis. Hommage, souvenir d’un séjour a Madrid, 1897. 6 pages. Paroles et musique (Voir Valentia). Mozart. Marche (Marcia), original. 3 pages. (Don de Mme. Viardot). Pergolèse. Salve Regina. Saboly, Nicolas. Copie. Thomas, Ambroise. Grande page autographe de Françoise de Rimini, musique avec signature. Valentia (Maestro Luys-Milan). Tiento pour luth (vilualo). Copie et dédicace par G. Morphy. 9 pages de musique. Erato fan-tazia. Copie par le même. Dédiée à Camille Saint-Saëns. Madrid, 1897. Zaluski, Comte. Prelude. 1 page de musique sign. aut. anonyme. Souvenir de Port-au-Prince (Haiti). 4 pages de musique. Pièce de musique chinoise et programme imprimé sur soie. Shanghai’, 16 mars 1861. Signé: “A. Libon, donateur.”

Item Number 2143 2144

2145 2146 2147 2148

Item Number 2149 2150 2151 2152 2153 2154 2155 2156

2157 2158 2159 2160 2161

2162 2163

138 THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE

Item Description

IV.

Porté de musique mes musulmans de Biskra, au dos d’une carte de visite de cheik d’El Kantara. Ahmed ben Clibena. Manuscrits, pieces détachées de divers Dossier contenant les pieces de poésie suivantes, détachées pour la plupart de la correspondance (simples, hommages, ou sollicitations de mise en musique). 1. Audigier (Georges), pièce de vers, 2 pages, Mont-Dore, 27 août ‘88. 2. Bartholomieu (Marcel), acrostiche sur le nom de Saint-Saëns, 1 page. 3. Bergerat (Caliban), pièces de vers. 4. Bouchor (Émile), pièces de vers. 5. Bouriant et Jouguet, fantasie archéologique en vers grecs et strophes en français, sur le colosse de Memnon et Égypte, a l’occasion d’une visite de Sanois (Saint-Saëns). 6. Boyer (Georges), Amour viril, pièces de vers. 7. Bussine et Lamarche (V. Lamarche).5 8. Buytion (O.), cantique suédois, chanté par un Dalécarlien, traité en harmonie par Buytion. 9. Chapdelaine (Blida), sonnet. 10. Cherubini (Luigi), canon, copié par Gabriel Sizes.

Item Description 11. Chil (Dr. Don Gregorio), éloge des Canaries et de SaintSaëns, 4 pages. 12. Cousteny (Horace), poëme sur la danse macabre. 13. Coquelin cadet, Mémée, romance. 14. Croze, 3 pièces de vers: A deux pleurer, et Au Pays de rêve. 15. Debelloca (E.), 3 pièces de vers. 16. Delibes (Léo), Comité des fêtes en son honneur. Signatures autographes. 17. Elzéar (B.), pièces de vers. 18. Erler (Hermann), pièces de vers. 19. Flégier (Blanche), pièces de vers. 20. Forgues (Léon), 3 morceaux. 21. Gallet (Louis), 2 morceaux. 22. Garnier (Ch.), 1 morceau. 23. Goëlette (hirondelle de mer), pseudonyme de M.A. de G. Réplique a poésie de Camille Saint-Saëns, dite a son cinquantenaire. 24. Hémon (Camille), 1 pièce.

Item Number 2164

2165

Item Number

THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE 139

Item Description

Item Number

25. Hermel (Louise), ballade. 26. Hippeau, Au Pays du rêve, fantasie poétique, 2 pages. 27. Ivel (Jacques), Ballade du Cordier. 28. La Blanchère, le Sistre, pièce de vers. 29. La Case, la Vigne, pièce de vers. 30. Lamarche et Bussine, Complainte sur les mésaventures de Camille Saint-Saëns, a propos de sa cantate de l’Exposition universelle de 1867, 16 pages. Signatures autographes, 15 novembre 1867. 31. Lefèvre de la Pommeraye, poésie sur le premier nocturne de Chopin, 4 septembre 1902. 32. Lefèvre (Émile), l’Imagination, poëme dédié, novembre 1902. 33. Legrand (Marc), Chanson Crétoise, d’après Hybrias. 34. Lemaire (Ferdinand), pièce de vers. 35. Lemoine (Émile), deux poésie, 100e de Samson et Dalila. 36. Mahot, pièces de vers. 37. Mouzin (A.), Moissonneuse provençale. 38. Orval (Jean), Cloches du soir. 39. Paysant (Achille), Au maître symphoniste, 5 lignes, 10 novembre 1901. 40. Perny (Mlle.), Donne-moi ta main, etc., ode 2 pages. 41. Perpina Garcia (Francisco), Déséo de amor, poésie espagnole mise en musique par Camille Saint-Saëns, 1 page. 42. Portugal de Féria (Ant.), Adamastor, d’après le Camoëns. 43. Renaud (Armand), Nuit persane en 4 parties. 44. Ricquebourg, Ideal, pièce de vers, 2 pages. Souvenir du cap Saint- Jacques, Saïgon, février 1895. Le mort, Chanson, mars 1895. Item Description 45. Roy (Mlle.), pièce de vers. 46. Sauvaget, pièce de vers. 47. Second (Henri), 6 chansons, Chansons de mai, La mort de vieux, La Saint-Printemps, Française, J’ai du vin a mettre en bouteilles, La philosophies du champagne, 10 pages. 48. Sicard (D.), pièce de vers. 49. Spengler (Frédéric de), La charité, poésie, 7 pages. 50. Stuart (Paul), pièce de vers. 51. Sylvestre (Armand) pièce de vers.

Item Number

140 THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE

Item Description

V.

Item Number

52. Sylvestre (Pierre), Tota Pulchra est, poésie en l’honneur de la Vierge, 2 pages. 53. Thomazeau (Maria), une Page d’hiver, Croquis d'été, Que fait-il?, La Rosée, 6 pages. 54. Tranchant (Alfred), Le Souvenir de ma Thérèse, 4 colonnes. Autre poésie, 1 page. Pièce de vers a Camille Saint-Saëns, à l’occasion de sa présence à Dieppe, le 18 juillet 1897, jour de la fête d’inauguration de la place qui porte son nom, 1 page. 55. Vacquerie (Auguste) et Gallet (Louis), modifications apportées au livret de Proserpine. 56. Voisrenel, piece de vers. Imprimés Imitations de Jésus-Christ traduite en vers par Pierre Corneille. Oeuvres completes de Grécourt. Gravures d’Eisen, vol. I et II, 1762. Le Temple de Cnide par Montesquieu. Gravures de Moreau, d’aprfès De Launay, 1778. Étrennes aux dames pour l’an 1882. Volume a la reliure en veau fleurdelisée. La Princesse jaune, opéra-comique de Louis Gallet, musique de Camille Saint-Saëns, représentée pour la première fois au théâtre de l’Opéra-Comique, le 12 janvier, 1872, avec un son-net autographe de L. Gallet. Javotte, par L. Croze, musique de C. Saint-Saëns, 1896. Falstaff et Othello. Opéras de G. Verdi, en 2 volumes richement relies, avec le nom imprimé de C. Saint-Saëns. Catalogue de ses oeuvres, Paris 1881, plaquettes in 4° reliée au chiffre C.S.S. Autre Catalogue général et thématique de ses oeuvres, qui a vu le jour chez A. Durand et fils, en 1897, volume in 8°. Harmonie et mélodie. Paris 1885, 1 vol. in 8°. Note sur les théâtres dans l’antiquité romaine, br. La Crampe des écrivain, comédie en un acte. Paris, CalmannLevy, 1892. Exemplaire enrichi d’un article humoristique de Ch. Lecocq. 6 pages autogr. Problèmes et mystères. Paris, Flammarion, 1894, in 8°. Exemplaire couvert de nombreuses annotations marginales

Item Description manuscrites d’Aldophe Seghers, auquel on a joint: Lettre ou-verte a Zola, par Frédéric Bordes, dans la

Item Number

2166 2167 2168 2169 2170 2171

2172 2173 2174 2175 2176 2177 2178

2179

THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE 141

Item Description Philosophie de l’avenir, 3 octobre 1893. Rimes familières. Paris, CalmannLévy. 2e édition, 1902. Le Roi Apépi, comédie en prose d’après une nouvelle de Victor Cherbuliez. Paris, Calmann-Lévy. Hélène, poème lyrique en un acte. Paris, Durand et Calmann-Lévy, in 8°. Proserpine (Quelques mots sur.) Alessandria. Br. de 10 p. Liszt (Frantz), article dans The Century Illustrated Monthly Mag-azine, February 1893. Charles Gounod et le “Don Juan de Mozart,” article dans la Vie contemporaine, le novembre 1893. Conseils pour l'étude du piano, dans El Museo Canario, febrero 7 1899. Communication faite au Congrés international d’histoire de la Musique, tenu a Paris, du 23 au 29 juillet 1900. Souvenir de fêtes de Cambridge. Discours latin adressé a Camille SaintSaëns pour son intro-nisation du doctorat, 1893. Jubilé de Camille Saint-Saëns a l’ occasion du cinquantenaire de son premier concert, salle Pleyel en 1846. Beau volume con-tenant une biographie très documentée du maître. (Discours, réponses, etc., par L. de Fourcaud et Th. Lindenlaub.) Les poésies de Camille Saint-Saëns ont été l’object d’une spir-ituelle causerie a l’Odéon, par le Dr. N.-M. Bernardin. (Revue des cours et conferences, no. 1, 13 novembre 1902.) Dossier comprenant de nombreux extraits de journaux sur des concerts et fêtes ou représent- ations théâtrales des oeuvres du maître, tant en France qu'à l'étranger. Deux chansons de Victor Saint-Saëns, père du compositeur, l’ une intitulée: Encore, musique de Champein; l’autre:

Item Number

2180 2181

2182 2183 2184

2185

2186 2187

2188

2189

2190

2191

2192

142 THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE

Item Description Item Number L’Amour désolé, musique del signor Campini, probablement le même que le precedent. Elles ont été édité par Champein fils, rue Richelieu, no. 23, à Paris. VI. Lettres adressées a Camille SaintSaëns. (Letters without specific MS numbers, listed only by name as in Millet’s monograph.) Name of Author Comments 6 Adam, Juliette Arenberg, Prince d’ 67 lettres 35 pièces7 20 pièces 7 lettres Audigier Augé de Lassus, librettiste Barbier, P.-J. and P. Bartet, Mme. Bellaigue, Camille, critique BenjaminConstant Bergerat, Caliban Name of Author Berlioz, compositeur Bibesco, Princesse Bizet, compositeur Braun, director de la Nouvelle Revue d’Égypte Bruck, Max Bülow, Hans de, compositeur Burgaud-Ducoudray Cambon, Paul, ambassadeur Carnot, famille Carré, Albert Carvalho, M. et Mme. Castelbon de Beauxhostes, organisateur des representations aux arènes de Béziers Chabot, Albert Chabrier, Emmanuel Charpentier, Georges Chazal, famille Clairin, Georges Claretie, directeur de la Comédie-Française Coche, Camille, maire de Dieppe Cocquelin, les frères Collin, famille Colonne Comettant, Oscar, compositeur

Comments 36 pièces 17 lettres

8 pieces

80 pieces

lettres illustrées

20 lettres

THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE 143

Name of Author Cottinet, Edmond Croze, J.-L., littérateur Dagnan-Bouveret Danbé Dancla Deguerry, l’abbé Dein, Achille Delaborde, vicomte Henri Delibes, Léo, compositeur Deschamps-Jehin, Mme. Detroyat, Léonce Diémer Dieppe, Ville de Dieulafoy, Mme. Jane, auteur de Parysatis Dubois, Paul, sculpteur Dukas, Paul Dumas, Alexandre Durand frères, éditeurs de musique, et famille Enjolras, Lois Erard, Mme. Eu, comtesse d’ Fauré, Gabriel Ferry, Jules Flammarion Flégier

Comments

8 lettres

6 pièces

22 lettres 10 pièces 9 lettres 710 lettres

25 pièces 8 lettres

Name of Author Floquet, Charles Forgues, Léon France, Anatole Franck, César, compositeur Franck-Brentano Fuchs, Mme. Gallet, Louis, littérateur, le plus fécond librettiste de Camille Saint-Saëns Ganderax Garnier, Charles, architecte Gérôme Gevaert

Comments 7 pièces

304 lettres

144 THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE

Name of Author Gheusi Gigout, Eugène Glaise, Léon et famille Godard, Benjamin et Madeleine Gounod, Charles, compositeur et famille Grandval, vicomtesse de Greffulhe, comtesse de Gréville, Mme. Henri Guilleman, Alger Guilmant, Alexandre Guiraud, Ernest Guitaut, comtesse de Halévy, Ludovic, compositeur Héglon, Mme. Hollmann, Joseph Holmès, Augusta, compositeur Hoskier, famille Indy, Vincent d’, compositeur Jacquet, Achille et Louis Jaëll, Mme., compositeur Janssen La Blanchére, R.de l Lalo, compositeur Lamarch Lamoureux Lara, René Larroumet Lavalle, Cordiglia Lavignac, Albert Lecocq, Charles, compositeur Lecomte, Raymond Lefèvre, famille Legouvé Lemaire, Ferdinand Lemaire, Mme. Madeleine Lemoine, Émile

Comments 6 pièces 4 pièces 4 pièces 23 pièces 64 pièces 5 pièces 6 pièces 5 lettres 11 lettres 4 pieces 11 pièces 5 lettres 13 lettres

37 pièces 13 pièces 5 pièces

8 pièces 4 lettres 12 lettres 7 lettres 111 pièces8 5 lettres 6 pièces 7 pièces 13 pièces 18 lettres 3 poésie

THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE 145

Name of Author

Comments Charles9

Leseurre, Albert et Leygues, Georges Liszt, Fr., compositeur Lorrain, Jean Loti, Pierre Luigini Malherbe, Charles Malo, Hector Mangeot, A. Marie, Gabriel Marmontel, père et fils Massenet, Jules, compositeur, et Mme. Massenet Maupeou, comtesse de Melba, Mme. Melchisèdec, Léon Merson, Luc-Olivier Messager, André Metternich, princesse Pauline de Meurice, Paul, littérateur Mohammed, prince Morphy, comte Neidermayer10 Noë, comtesse de Olonne, Max d’ Paladilhe Parison, abbé Parodi Pasdelout Périlhou Planté, Francis Pochet de Tinan, Mme. de Poincaré Présidence de la République Rambaud, Alfred Reclus, Dr. Paul Récy, René de Regnault, Dr. Felix Régnier, Henri Reszké, Jean de

15 lettres 3 lettres 19 lettres 3 lettres 4 lettres 25 lettres 14 lettres 8 pièces 9 pièces 9 lettres 23 pièces 12 lettres

14 lettres 6 lettres 17 lettres 3 pièces 9 lettres 13 lettres 4 lettres

23 pieces 7 pièces volumineuse correspondance

5 pièces 6 pièces 10 pièces

146 THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE

Name of Author Reversaux, marquis de Richard, Renée Ricard, L. Richepin Ricquebourg Ritt et Gailhard, Opéra Roger-Miclos, Marie Roujon Rousseau, Armamd [Armand?]

Comments 5 lettres 4 lettres 5 lettres 7 pieces 7 lettres 3 lettres 3 lettres

Name of Author Rubinstein, Anton Rumeau, Mme. Thérèsa Russie, cour de Saint-Marceaux, Mme. de Saint-Paul, marquise de Sanderson, Sybil Sanz, Elena Sarasate Sardou, Victorien Second, Henri Ségur, comtesse Marie de Ségur-Lamoignon, comte Edgar et vicomtesse de Ségur-Reiset Serres, Mme. Caroline de Simon, Jules Sizes, Gabriel (de Touluse) Soubies, Albert Souchon, Victor Steck, Paul Stuart, Paul Sully-Prudhomme Sylvestre, Armand Taffanel et famille Tattegrain, Francis et Georges Théodorian, Jean Thibaud, Alphonse Thomas, Ambroise, compositeur et Mme. Ambroise Thomas

Comments 6 lettres 7 lettres 8 pieces 3 lettres 3 lettres 21 lettres 4 lettres et vers 13 lettres 10 pièces 17 lettres 38 lettres 4 lettres 5 lettres 16 1ettres et dessin 8 pièces 7 lettres et vers 17 pièces 8 pièces 8 lettres 5 lettres 6 pieces

THE SAINT-SAËNS MUSEUM AT THE CHÂTEAU-MUSÉE IN DIEPPE 147

Name of Author

Comments

Thorel, René Tiersot, Julien, biographe de Camille Saint-Saëns Torchet, Julien Tranchant, Alfred Tschaïkowski Trédern, vicomtesse de Trélat, Mme. Marie Ugalde, Mme. Urbaneck, Velebin Vacquerie, Auguste Vaucorbeil, M. et Mme. Vaujany, l’abbé Verdi, Giuseppe, compositeur Vergnet Viansei Viardot, Mme. Pauline Villers, comtesse de Vizentini Wolff, Johannes Ysaïe

5 lettres et vers pieces 18 pièces 5 lettres 33 lettres et vers 8 lettres 7 lettres 3 lettres 13 lettres 6 pieces 2 pieces 5 lettres 3 lettres 30 pièces 24 pièces 5 lettres 12 pièces 3 pieces

Notes 1. For this and more information see Pierre Ickowicz’s article “Camille Saint-Saëns au Château-Musée de Dieppe,” in #113. 2. This information comes to the present writer from a personal letter from M.Yves Gérard. 3. Yves Gérard also mentions his forthcoming monograph of approximately 500 letters between Saint-Saëns and other “great composers,” which we eagerly await. 4. Millet (#158) lists this dossier of 20 letters without giving any specific names, dates, etc. 5. This entry is erroneously labeled as number 8. 6. Millet puts the first names and titles in parentheses; the present writer has decided for clarity to omit the parentheses. 7. Millet makes no indication as to what distinguishes between “lettres” and “pièces,” and having not been able to study any of these items firsthand, I give the labels in this list as those assigned by Millet. However, it is possible that “pièce” may refer to poems, drawings, “cartes de visite” and the like. 8. According to Millet, these items include letters, poetry, and illustrations. 9. These are cousins of Saint-Saëns according to Millet. 10. If this is from the founder of the school at which Saint-Saëns taught, the spelling of this name should be Niedermeyer.

APPENDIX 4 Selected Discography

(Works arranged by genre according to Grove vi and then by opus number.) SYMPHONIES Symphony no. 1, in E-flat Major, Op 2. Vienna Philharmonic, Georges Prêtre, conductor. Erato: 1191–45695–2 (1991). —— Orchestre National de l’O. R.T. F., Jean Martinon, conductor. EMI Czs 7 62643 2 (1989). Symphony no. 2, in A minor, Op. 55. Vienna Philharmonic, Georges Prêtre, conductor. Erato: 1191–45695–2 (1991). —— Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox Allegretto: ACD 8171 (1973–74). —— Tapiola Sinfonietta, J.Kantorow, conductor. BIS 790 (n.d.). —— Orchestre National de l’O. R.T. F., Jean Martinon, conductor. EMI Czs 7 62643 2 (1989). Symphony no. 3, in C minor, Op. 78, the “Organ” Symphony. Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox Allegretto: ACD 8171 (1973–74). —— Imrich Szabo, organ, CSR Symphony Orchestra (Bratislava), Stephen Gunzenhauser, conductor. Naxos 8.550138 (1988). —— David Goode, organ, BBC Philharmonic, Marin Alsop, conductor. BBC Music, vol. 8, no. 6 (1999). —— Orchestre National de l’O. R.T. F., Jean Martinon, conductor. EMI Czs 7 62643 2 (1989).

ORCHESTRAL WORKS WITHOUT SOLO INSTRUMENTS Rhapsodie brétonne, op. 7bis. Orchestre Philharmonique de Monte-Carlo, David Robertson, conductor. Auvidis Valois V 4688 (1994). Le rouet d’Omphale, op. 31. Royal Philharmonic Orchestra, Charles Dutoit. London 425021–2 (1979). —— CSR Symphony Orchestra (Bratislava), Stephen Gunzenhauser, conductor. Naxos 8. 550138 (1988).

SELECTED DISCOGRAPHY 149

—— [version for 2 pianos, 4 hands by the composer.] Duo Egri & Pertis, piano. Hungariton 31928 (2000). —— Orchestre de Paris, Pierre Dervaux, conductor. Angel S 37009 (n.d.). Phaéton, op. 39. Royal Philharmonic Orchestra, Charles Dutoit. London 425021–2 (1979). —— [version for 2 pianos, 4 hands.] Duo Egri & Pertis, piano. Hungariton 31928 (2000). —— Orchestre de Paris, Pierre Dervaux, conductor. Angel S 37009 (n.d). Marche Heroïque, op. 34. Royal Philharmonic Orchestra, Charles Dutoit. London 425021–2 (1979). Danse Macabre, op. 40. Royal Philharmonic Orchestra, Charles Dutoit. London 425021– 2 (1979). —— Orchestre de Paris, Pierre Dervaux, conductor. Angel S 37009 (n.d.). La jeunesse d’Hercule, op. 50. Royal Philharmonic Orchestra, Charles Dutoit. London 425021–2 (1979). —— Orchestre de Paris, Pierre Dervaux, conductor. Angel S 37009 (n.d.). Marche militaire française from Suite algérienne, op. 60. The London Philharmonic, Geoffrey Simon, conductor. Cala: CACD 1015 (1993). Suite algérienne, op. 60. “Marche Militaire Française,” and “Elégie.” Saint-Saëns, piano with Gabrielle Guillaume, violin. His Master’s Voice, DB 704 (1919). This recording, according to Sabina Teller Ratner’s dissertation, can be found at the Library of Congress, Washington, D.C. —— Orchestre Philharmonique de Monte-Carlo, David Robertson, conductor. Auvidis Valois V 4688 (1994). —— Swiss Italian Orchestra, Francis Travis, conductor. Chandos 9837 (2000).

CONCERTED WORKS Tarantelle for Flute, Clarinet and Orchestra, op. 6. Susan Milan, flute and James Campbell, clarinet, The London Philharmonic, Geoffrey Simon, conductor. Cala: CACD 1015 (1993). Piano Concerto, no. 1, in D major, op. 17. Stephen Hough, piano, City of Birmingham Symphony Orchestra, Sakari Oramo, conductor, Hyperion CDA67331/2 (2001). —— Pascal Rogé, piano, Philharmonia Orchestra, Charles Dutoit, conductor, London 443 865–2 (1981). J.Collard, piano, Royal Philharmonica, André Previn, conductor. EMIC 49757 (1988). —— Gabriel Tacchino, piano, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974). Violin Concerto no. 1, in A major, op. 20. Philippe Graffin, violin, BBC Scottish Symphony Orchestra, Martin Babbins, conductor. Hyperion CDA67074 (1998). Piano Concerto, no. 2, in G minor, op. 22. Stephen Hough, piano, City of Birmingham Symphony Orchestra, Sakari Oramo, conductor, Hyperion CDA67331/2 (2001). —— Kathryn Stott, piano, BBC Philharmonic, Marin Alsop, conductor. BBC Music, vol. 8, no. 6 (1999). —— Pascal Rogé, piano, Royal Philharmonic Orchestra, Charles Dutoit, conductor, London 443 865–2 (1981). —— Gabriel Tacchino, piano, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974).

150 SELECTED DISCOG RAPHY

—— Arthur Rubenstein, piano, Orchestre de Société des concerts du Conservatoire, Philippe Gaubert, conductor, RCA Red Seal 09026 63082– 2 (1999). [Works recorded between 1939 and 1957 with interviews from 1963 and 1999.] Introduction and Rondo Capriccioso in A minor, op. 28 for violin. Dong-Suk Kang, violin, Polish National Radio Symphony Orchestra, Antoni Wit, conductor. Naxos 8.550752 (1993). —— Kyung Wha Chung, violin, Royal Philharmonic Orchestra, Charles Dutoit. London 425021–2 (1979). —— Mischa Elman, violin, Percy Kahn, piano. Biddulph Recordings LAB 035 (1990). [This recording of this arrangement for violin and piano was made between 1910 and 1911.] —— Jean François Heisser and Georges Pludermacher, piano. Erato 4509– 03209–2 (1993). [This is a unique recording of Claude Debussy’s transcription of this work for two pianists.] Piano Concerto, no. 3, in E-flat major, op. 29. Stephen Hough, piano, City of Birmingham Symphony Orchestra, Sakari Oramo, conductor, Hyperion CDA67331/2 (2001). —— Pascal Rogé, piano, London Philharmonic Orchestra, Charles Dutoit, conductor, London 443 865–2 (1981). —— Gabriel Tacchino, piano, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974). Cello Concerto no. 1 in A minor, op. 33. Julian Lloyd Webber, cellist, English Chamber Orchestra, Yan Pascal Tortelier, conductor. Philips: 432 084–2 (1990). —— T.Thedéen, cello, Tapiola Sinfonietta, J. Kantorow, conductor. BIS 956 (1998). —— Jacqueline Du Pré, cello, New Philharmonia Orchestra, Daniel Barenboim, conductor. EMI CMS 7 63283 2 (1989). Romance, op. 36 for horn and orchestra. Francis Orval, horn, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974). —— Radovan Vlatkovic, horn, Ensemble Orchestral de Paris, Jean-Jacques Kantorow, conductor. EMI Classic 7243 5 55587 2 5 (1995). —— Gilbert Coursier, horn, Annie d’Arco, piano. Calliope CL 1819 (n.d.). [This is version of op. 36 for horn and piano.] Piano Concerto, no. 4, in C minor, op. 44. Stephen Hough, piano, City of Birmingham Symphony Orchestra, Sakari Oramo, conductor, Hyperion CDA67331/2 (2001). —— Pascal Rogé, piano, Philharmonia Orchestra, Charles Dutoit, conductor, London 443 865–2 (1981). —— Gabriel Tacchino, piano, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox CD3x 3028 (1974). —— Alfred Cortot, piano, London Philharmonica Orchestra, Charles Munch, conductor. Philipps 456 754–2, 456 755–2, 456 756–2 (1999). [Recorded between 1929 and 1949; part of the series “Great Pianists of the 20th Century.] Romance in C major, op. 48 for violin. Dong-Suk Kang, violin, Polish National Radio Symphony Orchestra, Antoni Wit, conductor. Naxos 8.550752 (1993). —— Olivier Charlier, violin, Ensemble Orchestral de Paris, Jean-Jacques Kantorow, conductor. EMI Classic 7243 5 55587 2 5 (1995). Violin Concerto no. 2, in C major, op. 58. Philippe Graffin, violin, BBC Scottish Symphony Orchestra, Martin Babbins, conductor. Hyperion CDA67074 (1998).

SELECTED DISCOGRAPHY 151

Violin Concerto no. 3 in B minor, op. 61, for violin. Dong-Suk Kang, violin, Polish National Radio Symphony Orchestra, Antoni Wit, conductor. Naxos 8.550752 (1993). —— Philippe Graffin, violin, BBC Scottish Symphony Orchestra, Martin Babbins, conductor. Hyperion CDA67074 (1998). Morceau de Concert in G major, op. 62, for violin. Dong-Suk Kang, violin, Polish National Radio Symphony Orchestra, Antoni Wit, conductor. Naxos 8.550752 (1993). —— Olivier Charlier, violin, Ensemble Orchestral de Paris, Jean-Jacques Kantorow, conductor. EMI Classic 7243 5 55587 2 5 (1995). Allegro appassionato for piano and orchestra, op. 70. Stephen Hough, piano, City of Birmingham Symphony Orchestra, Sakari Oramo, conductor, Hyperion CDA67331/ 2 (2001). Rhapsodie d’Auvergne, op. 73. Stephen Hough, piano, City of Birmingham Symphony Orchestra, Sakari Oramo, conductor, Hyperion CDA67331/2 (2001). —— Gabriel Tacchino, piano, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974). —— J.Collard, piano, Royal Philharmonica, André Previn, conductor. EMIC 49757 (1988). —— Camille Saint-Saëns, piano, no orchestra or conductor mentioned. Telefunken TH 97009 (n.d.). [This is part of the “Collector’s Series, Historic Reissues reproduced from original piano rolls from the Welte Archives.] Wedding Cake Waltz, op. 76 for piano and orchestra. Stephen Hough, piano, City of Birmingham Symphony Orchestra, Sakari Oramo, conductor, Hyperion CDA67331/ 2 (2001). —— Gabriel Tacchino, piano, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974). Havanaise, op. 80 for violin and orchestra. Kyung Wha Chung, violin, Royal Philharmonic Orchestra, Charles Dutoit. London 425021–2 (1979). Africa: Fantasy for Piano and Orchestra, op. 89. Stephen Hough, piano, City of Birmingham Symphony Orchestra, Sakari Oramo, conductor, Hyperion CDA67331/ 2 (2001). —— Gwendolyn Mok, piano, The London Philharmonic, Geoffrey Simon, conductor. Cala: CACD 1015 (1993). —— Gabriel Tacchino, piano, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974). —— J.Collard, piano, Royal Philharmonica, André Previn, conductor. EMIC 49757 (1988). —— Laura Mikkola, piano, Tapiola Sinfonietta, J.Kantorow, conductor. BIS 790 (1996). Saraband et Rigaudon, op. 93 for violin and orchestra. Tina Gruenberg, violin, The London Philharmonic, Geoffrey Simon, conductor. Cala: CACD 1015 (1993). Morceau de Concert, op. 94 for horn and orchestra. Francis Orval, horn, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974). —— Radovan Vlatkovic, horn, Ensemble Orchestral de Paris, Jean-Jacques Kantorow, conductor. EMI Classic 7243 5 55587 2 5 (1995). Piano Concerto, no. 5, in F major, op. 103. Gabriel Tacchino, piano, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974).

152 SELECTED DISCOG RAPHY

—— Pascal Rogé, piano, Royal Philharmonic Orchestra, Charles Dutoit, conductor, London 443 865–2 (1981). Concerto no. 2 in D Minor for Cello and Orchestra, op. 119. M.Kliegel, cello, Bournemouth Sinfonietta, J.Monnard, conductor. Naxos 8553039 (1995). —— Steven Isserlis, cello, NDR-Sinfonieorchester, Hamburg, Christoph Eschenbach, conductor. RCA Red Seal 09026–6351802 (2001). Caprice andalous in G major, op. 122, for violin. Dong-Suk Kang, violin, Polish National Radio Symphony Orchestra, Antoni Wit, conductor. Naxos 8.550752 (1993). —— Olivier Charlier, violin, Ensemble Orchestral de Paris, Jean-Jacques Kantorow, conductor. EMI Classic 7243 5 55587 2 5 (1995). Fantasie for Violin and Harp, op. 124. Ruggiero Ricci, violin, Susanna Mildonian, harp. Vox, CD3x 3028 (1974). La muse et le poète, op. 132, for violin, cello, and orchestra. Ruggiero Ricci, violin, Georges Mallach, cello, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974). —— Steven Isserlis, cello, Joshua Bell, violin, NDR-Sinfonieorchester, Hamburg, Christoph Eschenbach, conductor. RCA Red Seal 09026–6351802 (2001). Morceau de concert pour harpe et orchestre, op. 154. Marielle Nordmann, harp, Ensemble Orchestral de Paris, Jean-Jacques Kantorow, conductor. EMI Classic 7243 5 55587 2 5 (1995). Cyprès et Lauriers, op. 156 for organ and orchestra. J.P.Kemmer, organ, Orchestra of Radio Luxembourg, Louis de Froment, conductor. Vox, CD3x 3028 (1974).

MILITARY BAND Sur les bords du Nil, op. 125, arranged by the composer for piano 4 hands. Duo Egri & Pertis, piano. Hungariton 31928 (2000).

CHAMBER MUSIC Suite for Cello and Piano (orchestra), op. 16. M. Kliegel, cello, Bournemouth Sinfonietta, J.Monnard, conductor. Naxos 8553039 (1995). Piano Trio no. 1 in F major, op. 18. Rebecca Hirsh, violin, Caroline Dearnely, cello, John Lenehan, piano. Naxos 8.550935 (1993). Romance for flute and piano in D-flat major, op. 37. Jean-Claude Gérard, flute, Leonard Hokansen, piano. Musikproduktion Dabringhaus und Grimm MDG 304 0395–2 (1991). Berceuse in B-flat major, op. 38. Philippe Graffin, voilin, Pascal Devoyon, piano. Hyperion CDA67100 (1999). Sonata no. 1 for cello and piano, op. 42. L. Tooten, cello, B.Rawitz, piano. Pavane 7407 (1998). Allegro appassionato for cello and orchestra (or piano), op. 43. Julian Lloyd Webber, cello, English Chamber Orchestra, Yan Pascal Tortelier, conductor. Philips 432084– 2 (1990). —— L.Tooten, cello, B.Rawitz, piano. Pavane 7407 (1998).

SELECTED DISCOGRAPHY 153

—— M.Kliegel, cello, Bournemouth Sinfonietta, J.Monnard, conductor. Naxos 8553039 (1995). Septet for piano, trumpet, and strings, op. 65. The Guilet String Quartet, Harry Glantz, trumpet, Philip Sklar, bass, Manahem Pressler, piano. Heliodor 25012 (1966?). —— [This is an arrangement of movements 2 and 4 from the Septet for trumpet, piano, and strings, op. 65 made by the composer for two pianos.] Duo Egri & Pertis, piano. Hungariton 31928 (2000). Romance for horn [or cello] and piano, op. 67. Barry Tuckwell, horn, Vladimir Ashkenazy, piano. London CS 6938 (n.d.). —— Steven Isserlis, cello, NDR-Sinfonieorchester, Hamburg, Christoph Eschenbach, conductor. RCA Red Seal 09026–6351802 (2001). [This is the version for cello and orchestra.] Violin Sonata, no. 1, op. 75 in D major. Philippe Graffin, violin, Pascal Devoyon, piano. Hyperion CDA67100 (1999). Caprice sur des airs danois et russes, op. 79. Jean-Claude Gérard, flute, Ingo Goritzki, oboe, Ulf Rodenhäuser, clarinet, Leonard Hokansen, piano. Musikproduktion Dabringhaus und Grimm MDG 304 0395–2 (1991). —— Samuel Baron, flute, Ronald Roseman, oboe, Joseph Rabbai, clarinet, Gilbert Kalish, piano. Desto DC 7146 (n.d.). Piano Trio no. 2 in E minor, op. 92. Rebecca Hirsh, violin, Caroline Dearnely, cello, John Lenehan, piano. Naxos 8.550935 (1993). Violin Sonata no. 2, op. 102 in E-flat major. Philippe Graffin, violin, Pascal Devoyon, piano. Hyperion CDA67100 (1999). String Quartet in E minor, no. 1, op. 112. Medici Quartet, Koch International GmbH, 3– 6484–2 (1997). Sonata no. 2 for cello and piano, op. 123. L.Tooten, cello, B.Rawitz, piano. Pavane 7407 (1998). —— Steven Isserlis, cello, Pascal Devoyon, piano. RCA Red Seal 09026– 6351802 (2001). Triptyque, op. 136 for violin and piano. Philippe Graffin, violin, Pascal Devoyon, piano. Hyperion CDA67100 (1999). Élégie for violin and piano, op. 143. Philippe Graffin, violin, Pascal Devoyon, piano. Hyperion CDA67100 (1999). Cavatina for trombone and piano, op. 144. Jacques Toulon, trombone, Annie d’Arco, piano. Calliope CAL 1819 (n.d.). String Quartet in G minor, no. 2, op. 153. Medici Quartet, Koch International GmbH, 3– 6484–2 (1997). Élégie for violin and piano, op. 160. Philippe Graffin, violin, Pascal Devoyon, piano. Hyperion CDA67100 (1999). Sonata for oboe and piano, op. 166. Maurice Bourgue, oboe, Annie d’Arco, piano. Calliope CAL 1819 (n.d.). —— Ingo Goritzki, Leonard Hokanson, piano. Musikproduktion Dabringhaus und Grimm MGD 304 0395–2 (1991). Sonata for clarinet and piano in E-flat major, op. 167. Maurice Gabai, clarinet, Annie d’Arco, piano. Calliope CAL 1819 (n.d.). —— Joseph Rabbai, clarinet, Gilbert Kalish, piano. Desto DC 7146 (n.d.). —— Ulf Rodenhäuser, clarinet, Leonard Hokanson, piano. Musikproduktion Dabringhaus und Grimm MGD 304 0395–2 (1991).

154 SELECTED DISCOG RAPHY

Sonata for bassoon and piano in G major, op. 168. Maurice Allard, bassoon, Annie d’Arco, piano. Calliope CAL 1819 (n.d.). —— Dag Jensen, bassoon, Leonard Hokanson, piano. Musikproduktion Dabringhaus und Grimm MGD 304 0395–2 (1991).

PIANO MUSIC (FOR ONE AND TWO PERFORMERS) Duetto, op. 11, for piano 4 hands. Duo Egri & Pertis, piano. Hungariton 31928 (2000). Mazurka in G minor for piano, op. 21. Camille Saint-Saëns, piano. Laserlight Digital 14 206 (1995). Variations sur un theme de Beethoven, for two pianos, op. 35. Philippe Entremont and Gaby Casadesus, pianos. CBS Masterworks M 35851 (1980). —— Duo Egri & Pertis, piano. Hungariton 31928 (2000). —— Marie-José Billard and Julien Azaïs, pianos. Philips 6525 005 (197?). Six Études, op. 52. Piers Lane, piano. Hyperion CDA67037 (1997). König Harald Harfagar, op. 59 for piano 4 hands. Duo Egri & Pertis, piano. Hungariton 31928 (2000). Minuet et Gavotte, op. 65, for two pianos. [This is an arrangement of movements 2 and 4 from the Septet for trumpet, piano, and strings, Op. 65 made by the composer.] Duo Egri & Pertis, piano. Hungariton 31928 (2000). Mazurka for piano, op. 66. Camille Saint-Saëns, piano. Laserlight Digital 14 206 (1995). Polonaise for two pianos, op. 77. Philippe Entremont and Gaby Casadesus, pianos. CBS Masterworks M 35851 (1980). Scherzo for two pianos, op. 87. Marie-José Billard and Julien Azaïs, pianos. Philips 6525 005 (197?). Suite in F major for piano, op. 90. Camille Saint-Saëns, piano. Classics Record Library WV 6633 (n.d.). [This is a recording only of the Gavotte from this suite.] Caprice arabe, op. 96, for two pianos. Duo Egri & Pertis, piano. Hungariton 31928 (2000). Theme Varié, op. 97. Piers Lane, piano. Hyperion CDA67037 (1997). Berceuse, op. 105, for piano 4 hands. Duo Egri & Pertis, piano. Hungariton 31928 (2000). Caprice héroïque for two pianos, op. 106. Marie-José Billard and Julien Azaïs, pianos. Philips 6525 005 (197?). Six Études, op. 111. Piers Lane, piano. Hyperion CDA67037 (1997). Valse langoureuse, op. 120. Camille Saint-Saëns, piano. Allegro Records LEG 9021 (196?). Six Études pour la main gauche seule, op. 135. Piers Lane, piano. Hyperion CDA67037 (1997).

ORGAN MUSIC Bénédiction Nuptuale, op. 9. Hans Fagius, organ. BIS CD 556 (1992). Trois preludes et fugues, op. 99. Hans Fagius, organ. BIS CD 556 (1992). —— Claude Girard, organ. Rivière-du-Loup, Quebec S0120512 (1992). [This is a recording of the third prelude and fugue from op. 99.] Fantasie in D-flat major, op. 101. Hans Fagius, organ. BIS CD 556 (1992).

SELECTED DISCOGRAPHY 155

Trois preludes et fugues, op. 109. Hans Fagius, organ. BIS CD 556 (1992). —— no. 1. Vincent Genvrin, organ. Edition Hortus 011 (1996). [This is a recording of op. 109, no. 1 only.] Fantasie in C major, op. 157. Hans Fagius, organ. BIS CD 556 (1992). —— Vincent Genvrin, organ. Edition Hortus 011 (1996).

CHORAL MUSIC Oratorio de Noël, op. 12. Ute Selbig (sop.), Elisabeth Wilke (ms.), Anette Markert (contralto), Armin Ude (ten.), Egbert Junghanns (bar.), Jutta Zoff (harp), MichaelChristfried Winkler (org.), Dresden Kreuzchor, Dresden Philharmonic, Martin Flämig, conductor. Laserlight Digital 15273 (1990). —— The Madrigal de Lyon chorus, Orchestre de Chambre de Lyon, Sylvain Cambreling, conductor. Arion ARN 68059 (1988). Le Deluge, op. 45, “Prelude.” Saint-Saëns with Gabrielle Guillaume, violin. His Master’s Voice, DB 705 (1919). This is a recording of the “Prelude” only. According to Sabina Teller Ratner’s dissertation, this recording can be found at the Library of Congress, Washington, D.C. Messe de Requiem, op. 54. Tinuke Olafimihan, soprano, Catherine Wyn-Rogers, alto, Anthony Roden, tenor, Simon Kirkbride, bass, The Hertfordshire Chorus, Harlow Chorus and the East London Chorus, The London Philharmonic, Geoffrey Simon, conductor. Cala: CACD 1015 (1993). —— Cynthia Richards, soprano, Kathryn Weld, alto, John MacMaster, tenor, Nathaniel Watson, baritone, Fairfield County Chorale, Horace Mann Glee Club, Amor Artis Gregorian Soloists and Orchestra, Johannes Somary, conductor. Premier Recordings PRCD 1025 (1992). —— Danielle Galland, soprano, Jeannine Collard, alto, Francis Bardot, tenor, Jacques Villisech, bass, Ensemble Choral Contrepoint, Orchestre Lyrique de l’O. R.T. F, Jean-Gabriel Gaussens, conductor. RCA Red Seal 650 002 (n.d.). Laudate Dominum, op. 149. Choeur Sacrum, Andris Veismanis, conductor. Editions Hortus 011 (1996).

OPERA La princesse jaune, op. 30. Maria Constanza Nocentini (soprano), Carlo Allemano (tenor), Swiss Italian Orchestra, Francis Travis, conductor. Chandos 9837 (2000). Samson et Dalila, op. 47. Placido Domingo (tenor), Elena Obraztsova (mezzo), Renato Bruson (bass), Choeur et Orchestre de Paris, Daniel Barenboim, conductor. Deutsche Grammophon, 413 299–2 (1979). —— Olga Borodina (mezzo), José Cura (tenor), Jean-Philippe LaFont (baritone), London Symphony Orchestra, Sir Colin Davis, conductor. Erato 3984–24756–2 (1998). —— Camille Saint-Saëns, piano. Allegro Records LEG 9021 (196?). [This is an arrangement of the Act I finale played by the composer.] Henri VIII, 1883. Philippe Rouillon (baritone), Michele Command (soprano), Lucie Vignon (mezzo), Alain Gabriel (tenor), Philippe Bohée (baritone), Alexandre Laiter

156 SELECTED DISCOG RAPHY

(tenor), Gérard Serkoyan (bass), Orchestre Lyrique Français, Choeurs du Théâtre des Arts de Rouen, Alain Guingal, conductor. Chant du Monde, LDC 278 1083 (1991). ——, [selections only]. A.Mogrelia (conductor), Razumovsky Sinfonia. Naxos NXIN CD 553338 (1995).

SONGS WITH OPUS NUMBERS Mélodies persanes, op. 26. Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997).

SONGS WITHOUT OPUS NUMBER IN ALPHABETICAL ORDER À quoi bon entendre, 1869. John Aler, tenor or John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). À Saint Blaise, 1907. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). L’Amant malheureux, 1921. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). L‘Amour oyseau, 1907. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). Aimons-nous, 1891. John Aler, tenor or John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). L’Amour blessé, 1907. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). L’Attente, 1855. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Ballade douzieme (Le pas d’armes de Roi Jean), 1852. José van Dam, baritone, JeanPhilippe Collard, piano. EMI Classics 7 54818 2 (1992). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Le bonheur, 1868. John Aler, tenor or John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). Chanson a boire de vieux temps, 1885. John Aler, tenor or John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Le Chant de ceux qui s’en vont sur la mer, 1868. John Aler, tenor or John Ostendorf, bassbaritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989).

SELECTED DISCOGRAPHY 157

—— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Le Cigale et la Fourmi (n.d.). François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Claire de lune, 1865. John Aler, tenor or John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— José van Dam, baritone, Jean-Philippe Collard, piano. EMI Classics 7 54818 2 (1992). —— Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). La Cloche, 1855. Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). Les cloches de la mer, 1900. José van Dam, baritone, Jean-Philippe Collard, piano. EMI Classics 7 54818 2 (1992). Le Coccinelle, 1868. François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Les cygnes (duet), 1891. John Aler, tenor and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). Dans ton coeur, 1872. François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Dans les coins, 1880. John Aler, tenor or John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). Danse macabre, 1872. José van Dam, baritone, Jean-Philippe Collard, piano. EMI Classics 7 54818 2 (1992). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). L’Étoile, 1907. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). L’Extase, 1860. John Aler, tenor or John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— José van Dam, baritone, Jean-Philippe Collard, piano. EMI Classics 7 54818 2 (1992). —— Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). Les Feés, 1892. Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). Feuille de peuplier, 1853. Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). Fière beauté, 1893. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). Une flûte invisible, 1885. Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Grasselette et Maigrelette, 1920. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Guitare, 1851. John Aler, tenor or John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997).

158 SELECTED DISCOG RAPHY

Guitares et mandolines, 1890. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Le lever de la lune, 1855. José van Dam, baritone, Jean-Philippe Collard, piano. EMI Classics 7 54818 2 (1992). Maria Lucrezia, 1868. John Aler, tenor, and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). Marquise, vous souvenez-vous?, 1869. François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Mort d’Ophélie, 1857. John Aler, tenor, and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). Nocturne, 1900. François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Le pas d’armes de Roi Jean, 1852. José van Dam, baritone, Jean-Philippe Collard, piano. EMI Classics 7 54818 2 (1992). —— Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Pastoral (duet), 1855. John Aler, tenor, and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). Peut-être, 1870. John Aler, tenor, and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). Rêverie, 1851. José van Dam, baritone, Jean-Philippe Collard, piano. EMI Classics 7 54818 2 (1992). —— Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Le Rossignol, 1892. John Aler, tenor, and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). Si vous n’avez rien a me dire, 1870. John Aler, tenor, and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— José van Dam, baritone, Jean-Philippe Collard, piano. EMI Classics 7 54818 2 (1992). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Sonnet, 1898. José van Dam, baritone, Jean-Philippe Collard, piano. EMI Classics 7 54818 2 (1992). Suzette et Suzon, 1888. John Aler, tenor and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993).

SELECTED DISCOGRAPHY 159

—— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Temps nouveau, 1920. François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Tristesse, 1868. John Aler, tenor and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). —— Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). Le vent dans la plaine, 1912. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— Anne-Marie Rodde, soprano, Noël Lee, piano. Etcetera KTC 1160 (1994). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997). Viens (duet), 1855. John Aler, tenor and John Ostendorf, bass-baritone, John Van Buskirk, piano. Newport Classics NCD 60110 (1989). Violons dans le soir, 1907. Didier Henry, baritone, Angeline Pondepeyre, piano. Numerique Digital REM 311193 (1993). —— François Le Roux, baritone, Graham Johnson, piano. Hyperion CDA 66856 (1997).

WORKS WITHOUT OPUS NUMBERS ARRANGED ALPHABETICALLY Andromaque (incidental music), 1903. Orchestre Philharmonique de Monte-Carlo, David Robertson, conductor. Auvidis Valois V 4688 (1994). Ave Maria (n.d.). Choeur Sacrum, Andris Veismanis, conductor. Editions Hortus 011 (1996). Ave Verum, 1865. The Madrigal de Lyon chorus, Orchestre de Chambre de Lyon, Sylvain Cambreling, conductor. Arion ARN 68059 (1988). Caprice sur des air de ballet d’Alceste de Gluck (n.d.). Jean François Heisser and Georges Pludermacher, piano. Erato 4509–03209–2 (1993). [This is a unique recording of Claude Debussy’s transcription of this work for two pianists.] Carnaval des animaux, 1886. Philippe Entremont and Gaby Casadesus, pianos. CBS Masterworks M 35851 (1980). Fantasie in E-flat major, 1857. Hans Fagius, organo. BIS CD 556 (1992). Javotte (ballet), 1896. Orchestre Philharmonique de Monte-Carlo, David Robertson, conductor. Auvidis Valois V 4688 (1994). Legendes de St. François d’Assise (n.d.). Vincent Genvrin, organ. Edition Hortus 011 (1996). [This is a transcription of a piano composition by Franz Liszt.] Quam dilecta, 1915. The Madrigal de Lyon chorus, Orchestre de Chambre de Lyon, Sylvain Cambreling, conductor. Arion ARN 68059 (1988). Spartacus, overture. Ensemble Orchestral de Paris, Jean-Jacques Kantorow, conductor. EMI Classic 7243 5 55587 2 5 (1995). Symphony in A major, ca. 1850. Tapiola Sinfonietta, J.Kantorow, conductor. BIS 956 (1998). Symphony in F major, “Urbs Roma,” 1856. Tapiola Sinfonietta, J.Kantorow, conductor. BIS 790 (n.d.). —— Orchestre National de l’O. R.T. F., Jean Martinon, conductor. EMI Czs 7 62643 2 (1989).

160 SELECTED DISCOG RAPHY

Veni Creator, 1858. Choeur Sacrum, Andris Veismanis, conductor. Editions Hortus 011 (1996).

Index of Authors and Editors

Note: Numbers refer to items, not pages. Aguétant, Pierre:83 Allorge, Henri:258 Anonymous: 84 Ashbrook, William: 173, 174 Athénius: 86 Aubry, G.Jean: 87 Augé de Lassus, Lucien: 52, 88, 175

Casella, Alfred: 103 Castera, R.de: 157 Cellier, Alexandre: 227, 242 Cellier, Laurent: 105 Cellier, Rémi: 106 Chantovoine, Jean: 107, 108, 186, 277 Cleva, Fausto: 187 Coeuroy, A.: 6 Cohen, H.Robert: 7 Collet, H.: 188 Combarieu, Jules: 57, 58, 189, 190 Cooper, Jeffrey: 8, 9 Cooper, Martin: 10 Cortot, Alfred: 228 Croze, J.L.: 160 Cullin, Olivier: 191

B., G.: 89 Bailbé, Joseph-Marc: 2 Barzun, Jacques: 3 Baumann, Émile: 53, 90 Bellaigue, Camille: 91 Bender, Gabriel: 218 Bernard, Robert: 92 Bernier, Conrad: 93 Bertier de Sauvigny, Emmanuel de: 260 Blakeman, Edward: 261 Blier, Steven: 176 Blondel, C: 54 Bondeville, Emmanuel: 94 Bonnerot, Jean: 55, 56, 95, 96, 97, 98, 177, 178, 179, 180, 219, 220, 262 Borne, Fernand Le: 99 Boschat, Adolphe: 100, 101, 181, 263 Bouillon, Elisabeth: 182, 183 Briquet, Marie: 264 Brody, Elaine: 4 Brook, Donald: 5 Bülow, Hans von: 184 Busoni, Ferruccio: 156 Busser, Henri: 185

Dandelot, Arthur: 11, 109, 110, 265 David, Marc: 192 Debussy, Claude: 193, 194, 195 della Corta, Andrea: 161 Delage, Roger: 111 De La Grange, Henry: 196 De Van, Gilles: 12 Destranges, Étienne: 197, 198 Dietrich, Charles: 13 Dubcek, Marina: 199 Dumaine, Robert: 112 Dumesnil, René: 14, 15 Dupuit, Jean-Sébastien: 113 Durand: 59, 162, 221 Ecorcheville, Jean: 163 Eigeldinger, Jean-Jacques: 16

Calvocoressi, Michail Dimitrij: 102

161

162 INDEX OF AUTHORS AND EDITORS

Ellis, Katherine: 17 Emmanuel, Maurice: 114, 266 Eyer, Ronald: 200 Fallon, Daniel: 222, 223 Fannière, Edouard: 115 Fauquet, Joël-Marie: 18, 19 Fauré, Gabriel: 116 Fauré, Michel: 20 Favre, Georges: 21 Ferrare, Henri: 267 Finscher, Ludwig: 22 Flynn, Timothy: 23 Fogel, Susan Lee: 201 Fourcaud, Louis de: 60 Freuhwald, Scott: 117 Fulcher, Jane Fair: 24 Gallet, Louis: 62, 202 Ganache, Edouard: 118 Gérard, Yves: 25, 119, 268 Gigout, Eugène: 120 Goubault, Christian: 26 Gounod, Charles: 203 Grace, Harvey: 229 Gut, Serge: 27 Hamburger, Klara: 269 Hanschin, Jacques: 121 Harding, James: 122 Harkins, Elizabeth: 243 Hervey, Arthur: 28, 64, 65 Hippeau, Edmond: 66, 204 Holoman, D.Kern: 29 Huebner, Steven: 30 Huré, Jean: 230 d’Indy, Vincent: 31 Kestner, Joseph: 205 Klein, Hermann: 123 Koechlin, Charles: 124 Lacroux, Jean: 125 Ladjili, Myriam: 32 Lalo, Pierre: 33, 67, 126, 164, 165, 231, 244 Laloy, Louis: 68

Landormy, Paul: 34, 35, 36 Lara, René: 69 Lay, Jacques: 127 LeBas, Georges: 270 LeBoucher, Maurice: 128 Ledbetter, Steven: 206 Lefevre, Maurice: 70 Lehrer, Charles David: 37 Lindenberger, Herbert: 38 Lindenlaub: 71 Locke, Ralph: 39, 207, 208 Lyle, Watson: 129 MacDonald, Hugh: 245 Mahling, Christoph-Hellmut: 254 Malherbe, Charles: 72, 209 Marty, Georges: 224 Mason, Daniel Gregory: 73 McAllister, Elaine: 271 Medek, Tilo: 225 Ménétrier, Alexandre: 130 Messager, André: 210 Millet, Ambroise: 158 Montargis, Jean: 74 Morel, Fritz: 232 Myers, Rollo: 40 Nectoux, Jean-Michel: 272, 273 Neitzel, Otto: 76 Noske, Frits: 41, 42, 255 Nussy Saint-Saëns, Marcel: 211 Paquette, Daniel: 131 Parker, D.C.: 77, 166, 167 Payne, Donald: 246 Périchard, Gaston: 132 Perry, Susan Cotton: 233 Philipp, Isidore: 234, 235, 236 Pichot, Georges: 168 Pillois, Jacques: 256 Pistone, Daniele: 27, 43 Platzbecker, Heinrich: 78 Pollei, Paul Canon: 247, 248 Poueigh, J.: 79 Pougin, Arthur: 169 Prod’homme, J.G.: 44, 133, 134, 135, 274

INDEX OF AUTHORS AND EDITORS 163

Quittard, Henry: 170 Randles, Kathleen Martha: 257 Rath, Edward Albert: 249 Ratner, Sabina Teller: 136, 137, 138, 212, 237, 238, 250 Rees, Brain: 139 Richard, Albert: 275 Roger-Miclos, M.: 239 Rohozinsky, L.: 45 Rolland, Romain: 140 Rosen, Charles: 46 Sachs, Leo: 141 Saint-Saëns, Camille: 278, 279, 280, 281, 282, 283, 284, 285, 286, 287, 288, 289, 290, 291 Savari, Pauline: 171 Scherer, Barrymore Laurence: 213 Scherperel, Loretta Fox: 240 Seré, O.: 79 Servières, Georges: 47, 142, 143, 144 Sizes, Gabriel: 145 Smith, Rolland: 48, 241 Stegeman, Michael: 146, 147, 148, 149, 150, 226, 251 Stevenson, Robert: 151 Stojowsky, Sigismund: 214 Striffling, Louis: 49 Studd, Stephen: 152 Thiel, Wolfgang: 153 Thorel, René: 80, 172 Tiersot, Julien: 50, 292 Vallas, Léon: 276 Vauzanges, Louis: 154 Viardot, Paul: 155 Viardot, Pauline: 81 Vierne, Louis: 215 Walsh, T.J.: 51 Weingartner, Felix: 82 Wells-Harrison, S.: 252 Wendt, Charles: 253 Wild, Nicole: 216

Zyiguilsky, Alexandre: 217

Index of Composers

Note: Numbers refer to items, not pages. Adam, Adolphe: 33 Alkan, Charles: 1 Auber, D.F.E.: 1, 28, 65, 69 Auric, Georges: 14, 15

Bülow, Hans von: 65, 70, 184 Busoni, Ferruccio: 156 Cahn, Sammy: 207 Canal, Marguerite: 14 Castillon, Alex: 27, 35 Chabrier, Emmanuel: 1, 4, 30, 35, 44 Chadwick, Arthur: 206 Charpentier, Gustave: 24, 30, 35, 50 Charpentier, Marc-Antoine: 179 Chausson, Ernest: 19, 27, 30, 33, 35 Cherubini, Luigi: 19 Chopin, Frédéric-François: 53, 114, 151, 249, 288, 288F, 288M, 289E Couperin, Louis: 20

Bach, J.S.: 20, 28, 44,48, 65, 66, 77, 89, 91, 105, 117, 121, 140, 151, 164, 172, 193, 236, 259, 278, 284, 286N, 288E Beethoven, Ludwig van: 28, 40, 44, 58, 66, 67, 72, 91, 105, 117, 120, 129, 130, 140, 141, 146, 164, 211, 231, 236, 244, 259, 278, 284, 286Q, 288D, 289A, 289E, 289M, 289O, 289Q Berlioz, Hector: 1, 2, 3, 4, 5, 13, 17, 28, 29, 33, 40, 41, 42, 44, 49, 53, 57, 65, 66, 70, 100, 101, 108, 117, 121, 154, 172, 187, 282, 282V, 284, 286M, 286Q, 289A, 289K, 289O Bernstein, Leonard: 207 Bizet, Georges: 1, 13, 28, 32, 33, 35, 38, 50, 70, 94, 152, 172, 187, 257, 289, 286Q, 289H Böely, Alexandre: 1 Boïto, Arrigo: 115, 289J Bordes, Charles: 10, 35 Bordin, Alexander: 44 Boulanger, Lilli: 14, 44 Boulanger, Nadia: 14, 288P Brahms, Johannes: 29, 121, 129 Bréville, Pierre de: 35 Bruch, Max: 57, 115, 289J Bruckner, Anton: 29, 121 Bruneau, Alfred: 24, 28, 30, 35, 50, 61, 83, 123, 134, 270, 274

David, Félicien: 29, 32, 44, 213, 257, 259, 284, 289O Debussy, Claude: 5, 20, 26, 36, 44, 50, 68, 87, 94, 103, 108, 123, 124, 126, 148, 193, 194, 195, 202, 257, 266, 285 Delage: 257 Delibes, Léo: 13, 35, 38, 289O d’Indy, Vincent: 6, 27, 29, 30, 36, 50, 68, 87, 123, 141, 161, 276, 285, 288 Dubois, Theodore: 28, 35, 44, 50, 141 Duparc, Henri: 6, 35, 41, 42, 44, 255 Dupin, Paul: 6 Dupré, Marcel: 48 Dukas, Paul: 5, 26, 29, 33, 35, 36, 54, 202 Dvorák, Antonin: 29, 253 Elgar, Edward: 29

164

165

Fauré, Gabriel: 4, 6, 19, 20, 26, 28, 33, 35, 36, 44, 50, 81, 87, 88, 120, 123, 124, 136, 141, 155, 185, 232, 255, 272, 273, 286B, 291 Fétis, François-Joséph: 286I Franck, César: 1, 5, 10, 14, 19, 26, 27, 28, 29, 31, 32, 33, 35, 41, 44, 47, 50, 53, 68, 77, 87, 103, 107, 141, 152, 240, 276, 285 Gigout, Eugène: 61, 120 Glass, Philip: 38 Glazunov, Alexander: 57, 115 Gluck, Christoph Willibald: 38, 53, 149, 155, 190, 192, 282, 286O, 289A, 289K Godard, Benjamin: 28, 35 Gossec, François-Joseph: 44, 218 Gounod, Charles: 1, 10, 28, 29, 30, 33, 35, 41, 53, 65, 66, 70, 77, 81, 99, 108, 109, 117, 152, 155, 169, 171, 172, 175, 185, 203, 212, 216, 259, 260, 270, 271, 278, 279, 288, 286Q, 288B, 288N, 288Q, 289C, 289L, 289O, 289R, 291 Grandval, Mme.: 289O Grieg, Edvard: 115, 289J Guilmant, Alexandre: 48, 240

278, 282U, 284, 286L, 288, 288C, 288M, 288O, 289B, 289E Lully, Jean-Baptiste: 278 Magnard, Albéric: 35 Mahler, Gustave: 29 Massé, Victor: 289, 289D Massenet, Jules: 15, 28, 30, 35, 47, 49, 50, 60, 108, 185, 216, 260, 270, 282, 282BB, 286S, 289O Méhul, Étienne-Nicolas: 2, 28, 44, 213 Mendelssohn, Felix: 29, 53, 89, 140, 218, 228, 235, 236, 265, 278, 288I, 289O Messager, André: 33, 75, 210 Messiaen, Olivier: 257 Meyerbeer, Giacomo: 2, 28, 50, 278, 282, 282CC, 286T, 288I Milhaud, Darius: 6, 15, 44, 124, 257 Monteverdi, Claudio: 130, 286I Mozart, Wolfgang Amadeus: 20, 28, 44, 53, 57, 58, 60, 89, 91, 105, 117, 121, 129, 140, 146, 151, 169, 171, 172, 192, 218, 224, 231, 235, 236, 244, 259, 278, 279, 286Q, 288N, 289E, 289L Niedermeyer, Louis: 43

Halévy, Fromental: 50 Handel, G.F.: 164, 194, 284 Haydn, Franz Joseph: 105, 117, 121, 130, 231, 265, 282T, 286K, 286Q, 289O Holmès, Augusta: 291, 289O Honegger, Arthur: 6 Ibert, Jacques: 15 Koechlin, Charles: 27, 124 Lalo, Edouard: 4, 19, 28, 29, 30, 33, 44, 47, 50, 253, 289O Lecocq, Charles: 25, 270 LeFlem, Paul: 6 Leleu, Jeanne: 14 Leoncavallo, Ruggiero: 270 Liszt, Franz: 29, 34, 41, 48, 57, 65, 70, 77, 79, 94, 99, 100, 109, 114, 117, 129, 132, 138, 143, 152, 171, 172, 193, 212, 218, 228, 234, 237, 248, 249, 258, 260, 269,

Offenbach, Jacques: 28, 282, 282DD, 284, 286U Onslow, Georges: 1, 19 Ortigue, Louis d’: 19 Paganini, Niccolò: 278, 288C, 289B Paladilhe, Émile: 35 Palestrina, Pierluigi da: 165, 259 Pierné, Gabriel: 123 Poulenc, Francis: 15 Puccini, Giacomo: 270 Rabaud, Henri: 6 Rameau, Jean-Philippe: 20, 33, 91, 148, 278, 288, 288E Ravel, Maurice: 5, 6, 10, 14, 15, 20, 26, 27, 33, 36, 44, 48, 50 Reber, Henri: 19, 284, 286Q Reyer, Ernest: 30, 47, 154, 289O Rimsky-Korsakov, Nikolay: 44

166 INDEX OF COMPOSERS

Ropartz, Guy: 6, 27, 35 Rossini, Giachino: 2, 50, 192, 282AA, 286R Rousseau, Jean-Jacques: 33, 35, 49 Roussel, Albert: 6, 10, 36, 124, 257 Rubinstein, Anton: 289, 289V Sarasate, Pablo de: 278 Satie, Erik: 6, 10, 24, 36 Schmitt, Florent: 6 Schubert, Franz: 29, 81, 254, 255, 256 Schumann, Clara: 249 Schumann, Robert: 29, 53, 79, 94, 114, 146, 228, 253, 254, 255, 265, 278 Serres: 35 Sibelius, Jan: 29 Six, Les: 10, 14, 36 Spohr, Louis: 29 Strauss, Richard: 29, 77, 79, 207, 285 Stravinsky, Igor: 14, 36, 44, 124, 130, 285 Tchaikovsky, Pyotr Il’yich: 29, 115, 271, 289J Thomas, Ambroise: 81, 288M Verdi, Giuseppe: 38, 70, 77, 172, 187 Vierne, Louis: 63, 215 Wagner, Richard: 14, 15, 26, 30, 31, 33, 34, 40, 44, 57, 58, 65, 66, 67, 68, 70, 77, 79, 94, 105, 107, 114, 117, 121, 124, 138, 146, 152, 163, 183, 185, 187, 192, 196, 210, 214, 258, 259, 270, 277, 278, 283, 284, 286E, 286I, 288I, 289N, 289O, 289P Weber, Carl Maria: 154, 288D, 289M Widor, Charles-Marie: 35, 48, 61, 83, 134, 240

Index of Compositions

The following compositions are either mentioned in the title of the monographs or articles examined in the present study, or they are included in the body of an annotation. Bach, J.S. Prelude and Fugue, BWV 48:552 St. Matthew Passion: 151 Well-Tempered Clavier: 286G Beethoven, Ludwig van Christus am Oelberg: 289O Fidelio: 289M Piano Concerto no. 2 in C minor: 120 Piano Sonata op. 52:236 Piano Sonata op. 106:120 Symphony no. 9:72 Berlioz, Hector Benvenuto Cellini: 3 Damnation de Faust: 2 Enfance du Christ, L’: 3 Harold in Italy: 3 Lélio: 101 Requiem: 282, 282V, 286M Roméo et Juliette: 289A Symphonie fantastique: 3, 34 Te Deum: 101 Troyens, Les: 3, 13, 101, 187 Bernstein, Leonard West Side Story: 207 Bizet, Georges Adieux de l’hôtesse arabe: 257 Carmen: 13, 15, 187, 202 Pêcheurs des perles: 13 Bruneau, Alfred Penthesilée: 274 Rêve, Le: 270

Cahn, Sammy “Be my love”: 207 Chadwick, Arthur Judith: 206 Charpentier, Gustave Louise: 24, 278 Charpentier, Marc-Antoine Medée: 179 Chopin, Frédéric-François Ballade in F major: 288F David, Félicien Desert, Le: 213 Perles d’Orient: 257 Debussy, Claude “Dialogue de la vague et de la brise” 266 Debussy, Claude (Cont.) “Jardins sous la pluie”: 266 Pelléas et Mélisande: 15, 126, 266 Prelude a l’après-midi d’un faune: 103 Trois chansons de Bilitis: 257 Delage, Maurice Quatre poèmes hindous: 257 Delibes, Léo Lakmé: 13 d’Indy, Vincent “Mountain” Symphony: 29, 141 Dukas, Paul Ariane et Barbe-Bleue: 15 Fauré, Gabriel 167

168 INDEX OF COMPOSITIONS

Penelope: 15, 21 Requiem: 141 Franck, César Béatitudes, Les: 141 Symphony in D minor: 29, 141 Gluck, Christoph Willibald Armide: 286O Orphée: 282, 282X, 286O, 289K Gounod, Charles Faust: 169, 288B, 289C Mireille: 175 Mors et Vita: 288Q, 289C Nonne sanglante, La: 289C Redemption: 289C Sappho: 289C St. Cecilia Mass: 288Q, 289C Haydn, Joseph Seven Last Words: 282T, 286K Lalo, Edouard Symphonie espagnole: 167 Leoncavallo, Ruggiero Pagliacci: 270 Liszt, Franz Christus: 286L, 289B Fantasia and Fugue on “Ad Nos”: 48 Faust Symphony: 269 Jeux d’eau de la Villa d’Este: 56 Mazeppa: 99 Mephisto Waltz: 286L Préludes, Les: 99 St. Elizabeth: 269, 286L, 289B St. Francis of Assisi Preaching to the Birds: 48 Sonata in B minor: 289B Tasso: 286L Valse mélancolique: 171 Massé, Victor Chalet, Le: 34 Chanteuse voilée: 289D Galathée: 289D Noces de Jeannette, Les: 34, 289D Zampa: 34 Massenet, Jules

Esclarmonde: 13 “La mort de Thaïs”: 60 Roi de Lahor, Le: l80, 2l6 Thaïs: 13 Méhul, Étienne-Nicolas Joseph: 2, 213 Mendelssohn, Felix Elijah: 278, 289O Midsummer Night’s Dream, A: 278 Rondo capriccioso: 236 Messiaen, Olivier Hatawi: 257 Meyerbeer, Giacomo Africaine, L’: 13, 286T Huguenots, Les: 2, 259, 278, 286T Pardon de Ploërmel, Le: 175, 286T Polyeucte: 216 Prophète, Le: 286T Robert le Diable: 8l, 155 Tribut de Zamora, Le: 216 Milhaud, Darius Chansons de négresse: 257 Mozart, Wolfgang Amadeus Don Giovanni (Don Juan): 169, 279, 288N, 289L Magic Flute: 72 Marriage of Figaro: 60, 72, 289L “Or sai ch l’onore” (from Don Giovanni): 279 Piano concerto in B-flat major: 60 Jupiter Symphony: 224 Mussorgsky, Modest Boris Godounov: 201, 259 Offenbach, Jacques Daphnis et Chloé: 286U Contes d’Hoffmann Les: 202, 286U Ortigue, Joseph d’ String Quartet no. 6:19 Puccini, Giacomo Bohème: 270 Turandot: 39 Reber, Henri String Quartet, op. 5:19 Rodgers, Richard

INDEX OF COMPOSITIONS 169

King and I, The: 39 Rossini, Giacchino Italiana in Algiers, L’: 213 Moïse: 2, 213 Rubinstein, Antoine (Anton) Lalla-Roukh: 289E Ocean: 289E Saint-Saëns, Camille Africa: 32, 234, 239 Allegro appassionato for cello: 242 Allegro de concert for violin and piano (1913): 245 Ancêtre, L’: 5, 21, 25, 52, 175 Antigone: 76 “Antwort”: 255 Ascanio: 5, 36, 58, 98, 105, 177, 209, 210 “Attente, L’”: 256 “Bacchanale” from Samson et Dalila: 111, 191 Barbares, Les: 5, 12, 20, 98, 189, 190, 193, 194, 214 Brunhilda: see Frédégonde below. Caprice brillant: 137, 245 Caprice für les Airs de Ballet d’Alceste: 228 Caprice heroïque: 228 Carnaval des animaux, Le: 100, 219, 226, 270 Cello Concerto no. 1 in A minor: 5, 129, 253 Cello Sonata no. 1 in C minor: 242 Cello Sonata no. 2 in F major: 105, 242 Chanson napolitaine: 235 Christmas Oratorio: see Oratoire de Noël below. “Cignale et la fourmi, La”: 255 “Cygne”: 100 Cyprès et Lauriers: 233 “Dagon se révèle” from Samson et Dalila: 111 Danse macabre: 5, 72, 76, 79, 166, 238, 256 Déjanire: 7, 12, 21, 25, 76, 90, 98, 181, 186, 211, 286E

Deluge, Le: 48, 65, 76, 79, 90, 91, 93, 215, 286E Elevation ou communion for organ: 240 “Enlèvment, L": 256 Étienne Marcel: 5, 7, 12, 58, 66, 76, 184, 286E Fantasie for harp and flute, op. 124:137 Fantasie in D-flat for Organ: 229, 240 Fantasie in E-flat for Organ: 229 Feu céleste, Le: 20, 261 “Feuille de peuplier, La”: 256 Fiancée du Timbalier, La: 166 Saint-Saëns, Camille (Cont.) Foi, La: 21, 25 Frédégonde: 76, 98, 202, 261 Havanaise: 167 Hélène: 21, 25, 186, 288G Henri VIII: 5, 7, 12, 20, 36, 57, 58, 66, 74, 76, 91, 195, 203, 204, 210, 216, 286F Hymne a Pallas Athéné: 211 Hymne a Victor Hugo: 286C Introduction et rondo capriccioso: 65, 166, 167 Javotte: 76, 210, 270 Jeunesse d’Hercule, La: 5, 76, 100, 269 König Harald: 144, 228 “Lever de la lune, Le”: 254 Lyre et la harpe, La: 36, 65, 72, 76, 91, 93, 270 Mélodies persanes: 32, 50, 58, 65, 170, 255, 257 Malade Imaginaire, La: 179 Marche nuptiale for organ: 128 Marche religieuse for organ: 233, 240 Mass: 215 “Mon coeur s’ouvre a ta voix” from Samson et Dalila: 50, 197, 207 Morceau de Concert for horn: 128 Muse et la poète, La: 105 Noces de Prométhée, Les: 48, 69 Oratoire de Noël: 65, 76, 93, 215 “Organ” Symphony: see Symphony in C minor, the “Organ” below Parysatis: 90, 186, 194, 211 “Pas d’armes du roi Jean, Le”: 255 Phaëton: 5, 76 Phryné: 5, 52, 60, 76, 91, 98, 270

170 INDEX OF COMPOSITIONS

Piano Concerto no. 1 in D major: 247, 248 Piano Concerto no. 2 in G minor: 5, 129, 166, 247, 248, 289E Piano Concerto no. 3 in E-flat: 76, 247, 248 Piano Concerto no. 4 in C minor: 5, 90, 103, 129, 166, 247, 248 Piano Concerto no. 5 in F major: 5, 36, 247, 248 Piano Quartet in B-flat major: 242 Piano Trio in F major, op. 18:129, 166, 242 Piano Trio in E minor, op. 92:90, 242 “Plainte”: 255 Preludes and Fugues, op. 99 for Organ: 233, 240 Preludes and Fugues, op. 109 for Organ: 233, 240 Princesse jaune, La: 12, 50, 66, 286E “Printemps qui commence” from Samson et Dalila: 50, 197 Promised Land, The: 98, 105 Proserpine: 5, 58, 62, 76, 198, 286E Requiem: 65, 90, 215 Rhapsodie d’Auvergne: 50, 234 Romance for flute (op. 37): 60, 128 Rondo capriccio: 288H Rouet d’Omphale, Le: 5, 73, 76, 111, 166, 238, 268 “Ruhenthal”: 255 Samson et Dalila: 2, 5, 7, 12, 13, 20, 21, 28, 32, 38, 50, 57, 62, 65, 66, 69, 76, 79, 81, 111, 143, 166, 170, 176, 180, 183, 184, 187, 188, 191, 196, 197, 199, 200, 201, 205, 206, 207, 208, 210, 212, 213, 217, 231, 270, 282I, 282J, 288L Sept Improvisations for Organ: 227, 229, 233, 240, 288O “Sommeils des fleurs, Le”: 254, 255 Souvenirs d’Ismailia: 235 Spartacus Overture: 222 String Quartet no. 1 in E minor: 242 Suite algérienne: 32, 50, 76, 98, 170, 282I Suite for Cello and Piano: 242, 250 Symphony in A major: 137

Symphony no. 1 in E-flat major: 62 Symphony no. 3 in C minor, the “Organ”: 5, 29, 62, 65, 67, 79, 85, 90, 91, 94, 128, 129, 141, 221, 231, 261, 269 Timbre d’argent, Le: 5, 7, 65, 66, 76, 286D, 289I Trois morceaux: 240 Trois rhapsodies sur des cnatiques bretons: 48, 50, 128, 240 Urbs Roma Symphony: 222 Variations sur un theme de Beethoven: 228 “Veni creator” (for choir): 269 Violin Concerto n. 1 (op. 20): 288H Violin Concerto no. 3 (op. 61): 5, 76, 166, 245, 252, 288H Violin Sonata no. 1:128 “Voici le printemps” from Samson et Dalila: 197 Schubert, Franz Erlkönig: 81 Krähe, Die: 256 Schumann, Robert Genoveva: 278 Strauss, Richard Rosenkavalier, Der: 207 Thomas, Ambroise Françoise de Rimini: 216 Verdi, Giuseppe Aïdo: 38, 39, 216 Nabucco: 201, 2l3 Otello: 187 Rigoletto: 185 Wagner, Richard Lohengrin: 72 Meistersinger, Die: 289M Parsifal: 33 Ring Cycle: 265, 284 Tristan und Isolde: 58, 284 Weber, Carl Maria von Dernière pensée: 288D Freischütz, Der: 289M